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JUNE 1988

Editor

John Morris Dixon, FAIA
Executive Editor
Thomas Fisher
Profession and Industr
James A. Murphy, FAI
Managing Editor
Valerie Kanter Sisca
Senior Editors

Susan Doubilet, MRAIC, Features
Pilar Viladas, /nterior design
Daralice D. Boles, News, Features
Associate Editor

Vernon Mays, Technics

Copy Editor

Virginia Chatfield

Assistant Editors

Mark Alden Branch

Jessica Elin

Editorial Assistants

Joan А. Brown

Debra Ladestro

Editor

Art Director

Richelle J. Huff
Assistant Art Directors
Lisa M. Mangano

Chee Wang Ng

Contributing Editors

Norman Coplan, Hon. AIA
William T. Lohmann, AIA, FCSI
Walter Rosenfeld, AIA, CSI
Correspondents

Esther McCoy, Los Angeles

Barbara Goldstein, Los Angeles

Sally Woodbridge, San Francisco
Peter Papademetriou, AIA, Houston
Thomas Vonier, AIA, Washington
Monica Pidgeon, Hon. FAIA, London
Donatella Smetana, Milan

Jane Holtz Kay, Boston

Vice-President and Publisher
Robert J. Osborn

Business Manager

Daniel H. Desimone
Administrative Assistant
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Promotion Manager

Debra L. Jones

Promotion Director

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Production Manager

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Production Assistant

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Vice President—Circulation
Gloria Adams

Circulation Manager

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Circulation Marketing Manager
Roselle Dagostino

Penton Publishing

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104

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Progressive Architecture

ARCHITECTURAL DESIGN
Editor in charge: Pilar Viladas

Authentic Modernity

Mario Botta's competition-winning scheme for the André Malraux
Cultural Center is the centerpiece of a proposed residential and
cultural district in Chambéry-le-Bas, France. Donatella Smetana

CORPORATE ARCHITECTURE

Life Behind the Logos

As corporations have become major employers of architects and
designers, corporate architecture has become a respected career
path, with considerable decision-making power. Thomas Fisher

The Corporate Developer

'The Prudential Insurance Company of America has become one of
the largest developers in the country, producing buildings noted for
their attention to detail and life safety systems. Thomas Fisher
10,000 Hotel Rooms a Year

'The Marriott Corporation's expansive building program involves a
level of supervision that only a small army of staff can accomplish.
Vernon Mays

Big Blue Designs

Long an advocate of quality design for the many buildings it erects,
IBM continues its tradition by commissioning and working closely
with architects attuned to that quest. Thomas Fisher, Jim Murphy
Mickey the Talent Scout

Disney Development Company, the real estate branch of The Walt
Disney Company, is actively recruiting big-name architects for
building projects on the peripheries of its thriving theme parks.
Pilar Viladas

ARCHITECTURAL DESIGN

P/A Inquiry: Inside the Hotel Guest Room
Notions of what makes a successful hotel guest room depend on
who's doing the designing—and who's using the room. Vernon Mays

TECHNICS

Up Against the Wall
Architects must consider the various factors affecting the exterior of
buildings when designing and detailing curtain walls. Thomas Vonier

104

Sp information: Send all subscription orders, payments and changes of address to Progressive Architecture, P.O.

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DEPARTMENTS

9 Editorial
Traveling in Time
11 Views
15 P/A Reader Poll
Competitions and
Awards
27 News Report
37 Perspectives
Barcelona Olympics
Calendar
53 P/A Awards Program
P/A Practice
Verifying Zoning
Maps; After the Crash;
Single Subcontract
Responsibility
Technics-Related
Products
Books
Building a National
Image; The Spirit of
H.H. Richardson
New Products and
Literature
143 P/ A in July
145 Job Mart
147 Selected Details
148 Advertisers’ Index
149 Reader Service Card

118

125

131

Cover

Detail of André Malraux
Cultural Center in Chambéry
by Mario Botta (p. 81). Photo,
Stephane Couturier.

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EDITORIAL

Traveling in Time

Examining past THE job of an architecture journalist involves much travel to see the latest buildings. Looking at historical

: buildings is usually done in spare moments—an hour in Chicago between appointments, a quick tour
architecture can of Austin or Des Moines between the objective of the trip and the airport once in a while some real
sharpen our vacation days in places chosen at least in part for their architectural rewards.

2 One of the pleasures of serving on the AIA Committee on Design over the past several years has
discernment, been the opportunity to look at buildings and areas I do not otherwise have to see—and to do it with
especially if we see a congenial, interested group of architects. We have seen famous landmarks together, but some of the

off-beat places stick in my mind—some of the early Modern houses in Portland, some of the Classical
beyond our usual banking halls of San Francisco. This spring, the committee met in Annapolis, Maryland, a town remark-
professional ably full of 18th-Century buildings, only a couple of which appear in standard histories of American

А architecture. Even though the location was а major inducement for attending, we still devoted most of
preoccupations. our hours to committee business, so the time spent seeing the town had the quality of stolen moments.

The tours in Annapolis made a strong impression on me primarily because the buildings we examined
covered such а narrow span of time and types that we could focus on fine architectural distinctions,
rather than broad impressions. Another favorable circumstance is that we relied here on local volunteer
guides—very skillful ones—to interpret the buildings for us, rather than people with the more familiar
perspectives of architects or architectural historians. These guides were quite effective in portraying the
gradually increasing grasp of Classicism shown by Colonial designer/craftsmen in everything from
fenestration patterns to chair backs. At the same time, they could illuminate the role of the town’s
mansions as social-season settings for families whose real homes were on outlying plantations, for
instance, and they could portray the spirit of botanical exploration behind the 18th-Century gardens.
They could also share with us the present-day preservation strategies of a historic town that is also the
seat of an expanding state government, with the metropolitan expansion of both Washington and
Baltimore rolling into its outskirts.

It is very helpful to the critical faculties, I was reminded again, to immerse yourself, if only for a few
hours, in the aspirations and related design accomplishments of another time. In this case, it was also
humbling. The ambitious urban plan of this town, its buildings, and their furnishings were accomplished
despite a relatively primitive technology and a position at the very edge of Western culture. In many
naive—sometimes awkward—ways, the design we saw shows its provincial origin; why, then, does it
compare favorably with much of the best work we produce today, with our advanced technology and
our access to every design thought and accomplishment on earth?

Two tentative answers: In the 18th Century, design and architecture constituted a far larger portion
of total intellectual investment than they do today, and in that society there was a fairly clear consensus—
at least among those who commanded the resources—as to what the ideal built environment should be.
Today we can take some satisfaction in the attention the popular media are giving to design and in
community efforts to regulate design (by no means an unmixed blessing), but we still cannot pretend
that architecture commands any more than a small and remote corner of the national consciousness—or
that interested citizens won't be befuddled by the conflicting messages they receive from our design
community.

At any rate I would urge you, based on this brief encounter with Annapolis, to seek out some similar
experience to provide a healthful shift of perspective. Over these next few months, when vacations are
in order, you may quite understandably want to examine the latest museum or waterfront bazaar, or
the timeless beauty of some cathedrals or Mediterranean villages; whether or not you can make these
more ambitious pilgrimages, by all means visit a nearby historic neighborhood, house, farmstead, mill,
or pueblo—if possible in the company of a nonarchitect guide. You risk at worst being numbed by
trivia, but if you are fortunate, you may get a perception of design as part of a larger cultural picture—a
picture that warrants thoughtful comparison with the world you work in. =

. Илле, U

Progressive Architecture 6:88 9

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Views

Tnm эн RR
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—
m

Otto Wagner, Academy of Fine Arts.

Wagner Exhibition Credits
The exhibition of Otto Wagner
drawings (P/A, April 1988, p.
28) which is traveling in America
through the fall of 1988 was
organized by the Drawing
Center, 35 Wooster Street, New
York, New York 10013. The
Drawing Center is a nonprofit
space for the exhibition and
study of drawings. The catalog
by Otto Graf, which contains 110
black and white photos and 38
color plates, is available from
The Drawing Center for $24
including postage. The exhibi-
tion has been made possible by
generous grants from the Na-
tional Endowment for the Arts,
the New York State Council on
the Arts, and British Airways.
The exhibition can be seen at the
University Art Museum, Univer-
sity of Minnesota, Minneapolis,
now through August 26. (See
Calendar, p. 45.)

Urban Design in 3-D

As an Architect and Urban De-
signer I was very pleased with
your March issue and its focus
on Urban Design. I am troubled,
though, by one aspect of Thomas
Fisher's "New Urban Design"
review of current work: each
project was illustrated exclu-
sively by a plan drawing. You
chose not to include any sections,
elevations, or 3-dimensional
studies of these projects. As

Stadt Wien

hes Museum

Senior Designer of the Gateway
East Project in East St. Louis, my
design concept, while originating
in plan diagrams, quickly became
an exercise in 3-dimensional
design. I am sure the same is
true of my professional col-
leagues whose work you also
chose to illustrate. Perhaps the
greatest distinction between
Urban Designers and Urban
Planners is that most Urban De-
signers are Architects and, as
such, design in plan, section,
elevation and perspective. The
heart of any true Urban Design
scheme should be the creation of
quality urban spaces: hard
plazas, landscaped parks, tree-
lined boulevards, pedestrian
arcades and courtyards, service
streets and mews. As illustrated
in your article on Rector Place,
Battery Park City, Design
Guidelines can be an effective
way of implementing the crea-
tion of these spaces. And while I
would argue that a strong Urban
Design concept can be very le-
nient in its guidelines, neverthe-
less the full design of these
spaces can only be achieved in
three-dimensional modeling. It
is therefore a discredit to the
profession to limit the illustra-
tion of the work to plan views.
Robert L. Schmidt, AIA

Skidmore, Owings & Merrill
London

[Our emphasis in our survey of
urban design examples was on
plan elements and open spaces.
In our more detailed treatment
of Battery Park City, we showed
diagrams of the three-dimen-
sional considerations that are
also essential to effective urban
design.—Editor]

CADD Resolution

The microcomputer-based
“rendering” example (P/A
Technics, April, p. 127) by SOM
Chicago of Sullivan/Wright’s
Charnley House balcony is so
graphically inept, without ap-
parent purpose, and altogether
inadequate to the beautiful origi-
nal, it should have been cap-
tioned as an example of the mis-
guided and primitive results that
still abound in the world of
CADD.

I'm looking forward to [the]
AIA Convention Professional
Program Seminar entitled:
"Computer-Aided Design: Myth
or Dream Unfulfilled?"

Claude E. Armstrong, AIA

Jan Hird Pokorny Architects &
Planners

New York, New York

[АП of the dimensional data for
the Charnley House balcony is in
SOM’s computers and a higher
resolution image of it, showing
the intricate carving, could have
been made. Because it was shown
in the article as part of a much
larger image, it was not repro-
duced at a high resolution.—
Editors]

Winter Behind Walls

The environmental improvisa-
tion within the walls of Danne-
mora Prison was illustrated in
the August 1987 P/A (pp. 86-87)
in summer photos by Joshua
Freiwald. In March 1988, the
New York Times published this
photo of the same yard in winter,
showing how residents take ad-
vantage of the northern New
York State climate.

Office Design Credit

The offices of Leason Pomeroy
Associates in Los Angeles (April
P/A, p. 96) were designed by
Stanley Felderman, when he was
president of Leason Pomeroy-
Felderman Associates.

Chair Museum Credit

Vitra’s chair museum (May P/A,
р. 79) was designed by Frank О.
Gehry & Associates in association
with Gunter Pfeifer Architect,
Lorrach, West Germany.

Progressive Architecture 6:88

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Charts & Illustration: Chee Wang Ма

Readers recognize
the benefits of
competitions and
awards programs
while registering
concerns about cost

and fairness.

DESI N COMPETITIONS
Participation (Figures 2—4)

PA Reader Poll

Competitions and
Awards Programs

Just over 700 readers - most of
them owners and principals—
responded to the P/A Reader
Poll on Competitions and
Awards Programs. Their an-
swers reflect firm experience as
potential or seasoned com-
petitors.

to participate. Established firms
are the most disenchanted, with
44.9 percent registering a de-
crease in interest, while young
firms, as might be expected,
show the greatest interest.

The benefits (Figure 5)
Although they may find the costs
of competing prohibitive (see

below), many architects (63 per-
cent) believe that design compe-
titions generally raise the quality
of architecture. That view is mo
strongly held by staff archi

Who responded (Figure 1)
Small firms with less than 10
employees dominate the sample
at 58 percent of the total. Over
60 percent of the sample are
owners and principals, although

project managers and staff archi- and by new firms. —

tects are also well represented at Over 70 percent of the read-

15 and 12 percent respectively. ers believe that design competi-
Morrison & Morrison find tions provide a good mecha-

that the greatest variations in n for helping young firms
response, however, are regis- get started. Surprisingly, how-
tered not in terms of the ownef- ^ evef, the Morrisons find that
its аре. this yiéw is most commonly
by respondents from the
arge and established firms (82
and 86 percent respectively as

startup (5 years or less inbusi- against 71 and 74 percent for
ess), young (6 to 15 ature small or startup firms).

(16 to 30), and es ished (over Three-quarters of the re-

30.yéars). spondents also believe that de-

sign competitions are a good
means for developing a firm's
skills, a view shared in particular
by new and mature firms. And
71 percent believe that entering
design competitions helps staff
morale, even if their firm does
not win. Staff architects are more
likely to hold this point of view
than are owners and principals
(80 percent versus 67 percent).

Ithough half of the respond-
ents believe that the number of
design competitions has in-
creased over the past five years,
only 14 percent report that their
willingness to enter competitions
has increased. Over one-third
report a decrease in their desire

100%

Startup firms (under 5 years)
Mature firms (16-30 years)
Established firms (31 or more years)

Non-A/E firms
Young firms (6-15 years)

Medium firms

0%
1 Sample composition

cts 7
^. tects whose interest in compet-

The cost of competing
(Figure 6)

The Morrisons report that the
cost of entering design competi-
tions emerges in this survey as
the chief concern for all archi-
tects. А strong 83 percent of

53 percent
are justifiable to
as marketing ex-

ing is on the wane cite cost as a
major concern.

Although startup and young
firms are the most eager to par-
ticipate in design competitions,
nearly all readers (95 percent)
hold that small, new firms are
the least equipped to support
the cost. Thirty-nine percent of
the sample find that entering
design competitions is economi-
cally feasible for only large and
established firms, while another
30 percent believe that entering
is not feasible for any firm, re-
gardless of size or age.

Other drawbacks (Figure 5)
Chief among the other concerns
expressed by respondents is the
lack of client consultation in de-
sign competitions. Nearly three-
quarters believe that the absence
of direct contact with the client
adversely affects solutions. That

ie
Pb

2 Number of competitions versus
interest in competing

Progressive Architecture 6:88 15

Р/А Reader Poll
Report

view is strongest among project
managers and those respondents
registering a low interest in com-
petitions. (As might be antici-
pated, those with little interest in
competing are the most likely to
find fault with the competition
process and results.) Nearly
three-quarters of the respond-
ents believe to some extent that
design competitions are а means
by which clients exploit archi-
tects, and that in architect/de-
veloper competitions, design
counts for little. Neither view,
however, is strongly held; only
26 percent agreed completely
with the exploitation statement,
and only 19 percent agreed com-
pletely with the criticism of archi-
tect/developer competitions.

Nearly one-third of the read-
ers, however, believe strongly
that the quality of presentation
counts too much in decisions.
And a disturbing 70 percent
disagreed with the statement
that the best designs usually win.
That view, again, was strongest
for those who register low in-
terest in competing. Startup
firms show slightly more op-
timism than the norm.

What makes a good
competition? (Figure 7)

The assurance of a real commis-
sion to the winner and the prom-
ise of fairness, as indicated in the
competition rules, are cited as
the most important from a list of

16 Progressive Architecture 6:88

six variables by 73 and 67 per-
cent of the readers respectively.
Fifty-four percent cite the
importance of a complete and
clear program, while 40 percent
regard the promise of publicity
as a significant incentive. The
stature of the jurors and the
prize money were listed as criti-
cal factors by only 32 percent of
the sampled architects. How-
ever, prize money is significantly
more important to staff archi-
tects (45 percent) than to any
other category of respondents.

Historic competitions

(Figure 8)

Although readers were not par-
ticularly quick to praise the pub-
licity value of competitions, a test
of general knowledge reveals
that architects do remember
competitions fairly well, espe-
cially recent ones. Seventy-seven
percent correctly identified the
Boston City Hall as a commission
awarded on the basis of competi-
tion, while 74 percent recog-
nized the Tribune Tower and 66
percent recalled the Gateway
Arch as competition commis-
sions. Memories failed for the
Lincoln Memorial, the oldest
commission by competition in
the poll list. However, all but a
small percentage of readers
caught the "plants." Eighty-
seven percent knew the National
Gallery commission was not
awarded by competition, while

89 percent made the right call
on Dulles Airport and 97 percent
knew that Frank Lloyd Wright
did not compete for the commis-
sion to design Johnson's Wax.

Best competition programs
(Figure 9)

The Morrisons report that “а
majority (70 percent) of P/A
readers believe that design com-
petitions are most appropriate
to choose architects for major
public buildings." At the other
end of the scale, specialized
health and education commis-
sions were considered the least
appropriate subjects for compe-
titions.

Forty-nine percent of the
readers felt competitions worked
well for publicly sponsored hous-
ing, while modest public projects
and corporate facilities were
considered good candidates for
competition by only 40 and 38
percent of readers respectively.

AWARDS PROGRAMS
(Figure 10)

Participation

Twenty-six percent of the firms
sampled have participated in the
P/A Awards Program, while 35
percent have participated in the
AIA Honor Awards Program.
Over half of those who have
entered the AIA program have
won an award, while 25 percent
of those who have entered the
P/A program have received an

100%

20%

3 P/A Awards Program: Participation
versus success

award. The two programs attract
many of the same competitors:
55 percent of those who enter
the AIA programs also enter the
P/A competition, while 66 per-
cent of P/A submittees also com-
pete in АГА programs. And 27
percent of the sample have won
an award in a local or regional
AIA competition. Large and
established firms show a better
track record in both P/A and
AIA programs.

Asked to register their percep-
tions of awards programs, as
distinct from competitions for
commissions, 91 percent of the
readers agreed that such pro-
grams provide a good means for
young firms to gain recognition.
The Morrisons report that
“those firms who enter P/A and
AIA award programs are even
more likely to concur with this
sentiment.” Over 70 percent
regard awards programs as a
valuable way for established
firms to maintain their reputa-
tions. However, only 57 percent
agreed that awards programs
are a valuable means of compar-
ing one’s talents with the best.

The problems

Just over half of the respondents
do not believe that the best de-
sign usually wins. Fifty-nine per-
cent believe that jurors are not
conscientious and unbiased,

20%

4 AIA Honor Awards Program:
Participation versus success

Build firm’s skills

Benefits

Help young firms get started

3
Н
$
i
3
E
{
5
E
3
t
:
2
H

Raise general quality of architecture
Means for clients to exploit architects

Lack of client contact hurts design

Overemphasize presentation

Best design wins
Aretoo costly

Drawbacks

5 Perceived benefits and drawbacks of competitions

while 75 percent believe that
jurors have too little time to eval-
uate entries. (A sour grapes syn-
drome does prevail: Those who
entered either the P/A or the
AIA Honor Awards program
and have not won register a con-
sistently more negative view of
juror qualifications than the sam-
ple average.) And 68 percent
feel that few clients allow work
that will win awards.

Conclusion

Design competitions can help
hone a firm's skills and boost
staff morale, help a young firm
get started, and raise the general
quality of design. But the cost
of competing, the overemphasis
on presentation, and the lack of
direct contact with clients re-
main key concerns for archi-
tects who consider entering
competitions.

Similarly, winning an award
can help a young firm gain rec-
ognition or an older one main-
tain its reputation. But concerns
about the time jurors spend
reviewing entries and the biases
they bring are reflected in the
pessimistic belief that the best
design does not always win.

Not surprisingly, the most
negative opinions prevail
among those practitioners least
interested in competing. Yet
even those architects who main-
tain a high interest in competi-
tions and awards programs reg-

100%

80%

40%

Help young firms gain recognition

0%
Benefits

ister significant criticisms.
Their concerns form a useful
checklist of factors to be re-
viewed by any architect consid-
ering whether or not to enter a
given competition or awards
program. Moreover, a majority
of respondents—64 percent—
indicate a willingness to enter
competitions despite perceived
drawbacks. These architects
recognize that competitions
and awards programs are an
established—and growing—
part of professional practice. 0% 0%

Daralice D. Boles = 6 Firms for which entering design 7 Factors influencing decision to enter a
competitions is economically feasible design competition

Large, established firms
Virtually no firms

Small, new firms
Assurance of a real commission
Assurance of fairness in rules
Complete and clear program
Promise of publicity

Stature of jurors

Firms of all sizes

Boston City Hall
Tribune Tower
Lincoln Memorial
Johnson's Wax

jor public buildings

Publicly sponsored housing

Modest public projects
Corporate facilities
Health/education facilities
None of the above

8 Readers’ identification of commissions 9 Commissions for which design
awarded by competition competitions are appropriate means
to select an architect

ШИШ Agree

em Disagree

Help established firms maintain reputation
Provide chance to compare one's talent to the best
Best design usually wins

Jurors are conscientious and unbiased

Few clients permit award-winning design

Jurors spend too little time

Drawbacks

10 Perceived benefits and drawbacks of awards programs

Progressive Architecture 6:88

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Andersen Perma-Shield” windows.

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permitting the use of large glass areas for bigger
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Circle No. 316

When J. M. Pei & Partners
designed the Grand Louvre entrance,
they did more than create an archi-
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engineering marvel, where more
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Progressive Architecture 6:88

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Setting the Standard.

Circle No. 360 on Reader Service Card

PA N R 28 Williamsburg Bridge
EWS eport 30 Broadway Theaters
32 Prince Charles at St. Paul’s
37 Perspectives: Barcelona
Olympics
45 Calendar

Promoting a
U.S. Design Council

Despite all the talk in Congress
about how to make U.S. exports
more competitive, there has
been little discussion about prod-
uct design and how it might help
to improve the balance of trade.
But that may change if Design
America gets its way.

‘The organization has held
forums around the country to
generate interest in and gather

Arata Isozaki’s sports hall is one of several ideas for a U.S. design council, i
$ L : which would promote good de- B
projects planned for the 1992 Olympics in ао Бо ae ad ыл. Ж 2
Barcelona. See page 37. (continued on page 33) Endangered Holy Family Church.
Churches
Threatened

in Chicago

For many old and beautiful
churches in Chicago, the ques-
tion is becoming when, not if,
they'll be demolished. The fate
of two architecturally significant
Catholic churches in particular
is in grave doubt. And last De-
cember, the archdiocese of
Chicago announced that 25 his-
= =< toric inner-city churches may be
Gae Aulenti’s design for the Berlin Academy of Science. closed and possibly demolished

. А in the near future.
Berlin Academy of Science The Landmarks Preservation

e.s Council of Illinois (LPCI) and
Competition and Controversy the National Trust for Historic

Last winter, the Senat of West Berlin awarded the commission forthe Preservation are trying to pull
conversion of the former Italian Embassy for use by the newly created together money and resources

Academy of Science to a team headed by Milanese architect Gae to save endangered local
Aulenti. The project is the latest in a series sponsored by the Senatin churches. “We realize we can’t
an effort to recapture the city’s former importance as the interna- save them all, so we are forced to
(continued on page 29) (continued on page 32)

Americans in
London Docklands

Britain’s first skyscraper of
American proportions is to form
the centerpiece of the 12-million-
square-foot Canary Wharf devel-
opment proposed by Toronto-
based developers Olympia &
York for London’s Docklands
district. The 800-foot-high,
pyramid-topped building, de-
signed by Cesar Pelli of New
Haven, will be London’s tallest.
Other parts of the $7 billion
Canary Wharf project, which is
(continued on page 28) Docklands: Pelli (center tower) and Kohn Pedersen Fox (paired highrises and midrises).

Progressive Architecture 6:88 27

Р/А NEWS REPORT
Pencil Points

Jean Nouvel has been
awarded the commission to
design a luxury hotel for Per-
rier in Vichy, France. Ricardo
Bofill and Christian de
Portzamparc were also con-
sidered for the project.

The Massachusetts Museum of
Contemporary Art now has
the funds to proceed with
plans to convert an aban-
doned factory in North
Adams, Mass., into the world's
largest gallery. Governor
Michael Dukakis signed a bill
allocating $35 million to Mass
MoCA, whose program also
includes retail, hotel, con-
dominiums, and light indus-
try.

Gwathmey Siegel & Associ-
ates, New York, have been
selected to design the new
Busch-Reisinger Museum at
Harvard University. The $6
million building, which will
occupy a site adjacent to the
Fogg Art Museum, will also
house a portion of the Fine
Arts Library.

An International Academy of
Architecture has been set up
in Sofia. Funded in part by the
Bulgarian government, the
Academy is to be housed in
the restored monastery of St.
Kirik, also home to the Bulga-
rian Institute of Architects,
outside Plodniv. Dennis Sharp
will head the education arm,
and Jonathan Glancey will
edit the bimonthly magazine,
as yet unnamed, with the as-
sistance of guest editor Nor-
man Foster.

HOK's Sports Facilities Group
has been named architect for
the Chicago White Sox
Stadium, proposed for a site
adjacent to the existing Co-
miskey Park. The open-air
stadium will seat 47,000.

Eero Saarinen's Dulles Inter-
national Airport Terminal
Building has won the 1988
Twenty-Five-Year Award
from the American Institute of
Architects.

The former Crown Zellerbach
Building in San Francisco is to
be renovated by Kaplan/
McLaughlin/Diaz. Designed
by SOM with Hertzka &
Knowles in 1956, the 17-story
office building, a classic cur-
tain wall structure, was desig-
nated a historic landmark last
May.

28 Progressive Architecture 6:88

adi od Q
2 AS

& Douglas with Der Scutt.

Bridge proposal by Arup Associates.

A Bridge
Too Far?

Should the city patch it up or
tear it down? That is the question
confronting the keepers of New
York City’s Williamsburg
Bridge, who are simultaneously
examining repair plans and
studying new bridge proposals.

Some 89,000 automobiles,
17,000 trucks, 84,000 subway
riders, 4000 bus passengers and
400 pedestrians cross the 85-
year-old Williamsburg Bridge
each day. Those commuters got
a taste of traffic nightmares to
come when the bridge was closed
in May for emergency inspection
and repairs. Faults are legion—
from broken wires in the cables
to crumbling decks.

While most of the 25 replace-
ment bridge designs proposed
by competing international
teams play it straight with simple
solutions in which the engineer-
ing is the architecture, a few
took the opportunity to propose
more ambitious programs. A
design by DRC Consultants and
Parsons Brinckerhoff Quade &
Douglas with Der Scutt, all of
New York, would house a mu-
seum and a restaurant in twin
towers that would be right at
home among the apartment
buildings of Third Avenue.

As New Yorkers contemplate
these alternatives under crisis

Williamsburg Bridge proposal by DRC Consultants and Parsons Brinckerhoff Quade

conditions, two bridge construc-
tion executives have sounded a
more general, worldwide alarm.
According to The New York Times,
Stewart С. Watson and David
Stafford contend that cable-
stayed bridges, which are less
expensive to build than tradi-
tional suspension bridges and
increasingly favored, are vulner-
able to premature, rapid corro-
sion that can reach dangerous
levels in four to ten years. (In the
cable-stay design, the roadway is
suspended directly from the
bridge towers, producing a fan-
shaped cable pattern, while in
suspension bridge designs,
smaller vertical cables are sus-
pended from larger cables,
which hang in an arc between
the towers.) Ironically, all but
two of the 25 designs for the
Williamsburg replacement
bridge use the cable-stay system.
While public attention has
focused on the more dramatic
possibility of failure in the main
suspension span, recent inspec-
tion reports locate the most sig-
nificant corrosion in the on-land
approach roadways. That fact,
coupled with the new questions
raised about cable-stay design,
could make repairing the exist-
ing bridge more palatable. The
city’s Department of Transporta-
tion is expected to announce its
plan of action in July.
Daralice D. Boles a

Docklands (continued from page 27)
billed as the world’s largest com-
mercial development, are de-
signed by Kohn Pedersen Fox of
New York and the London and
Chicago offices of Skidmore,
Owings & Merrill.

Canary Wharf marks the most
comprehensive intervention to
date in Europe by American
architects. The master plan for
the 71-acre site by SOM with
I.M. Pei & Partners, New York,
and YRM Associates, London,
with landscape architects Hanna/
Olin, Philadelphia, incorporates
major revisions demanded after
the initial plans were unveiled
last year. The mixed-use pro-
gram, with 10 million square
feet of office space, 400,000
square feet of retail, two hotels,
and parking, remains largely
unchanged. The new plan, how-
ever, is more symmetrical, with
more formal landscaping and
improved access to the water
that surrounds the site. It is
perhaps overly formal by Lon-
don standards, but makes good
use of the dramatic possibilities
offered by the long site linking
two bends in the Thames River.

The buildings are grouped
around a long courtyard that is
divided in two by the Pelli tower.
Pelli's design replaces a taller,
asymmetrically positioned sky-
scraper by KPF, who have con-
tributed a pair of 600-foot-high
towers with barrel-vaulted tops
to the current plan. KPF has also
designed three mid-rise build-
ings—a hotel and a pair of office
blocks now under way. These
join office buildings of similar
size by SOM and Pei.

The dominant feature, how-
ever, remains the Pelli tower.
Some 50 feet shorter than the
tallest tower of the original plan,
it remains 200 feet taller than
London's previous tallest build-
ings, the 1966 British Telecom
Tower and the 1981 National
Westminster Tower.

Pelli takes pride in the fact
that his tower will act as symbol
for this booming area, noting
that London's existing tall build-
ings lack sufficient "flair and
dignity" to be termed skyscrap-
ers. He has not missed the great
symbolic value of his design in
signifying the shift of London's
center of gravity away from the
City and the West End. Yet he
has designed a skyscraper for
London without appearing to
consider what a European sky-
scraper (a contradiction in
terms?) should look like. And his
romanticized skyscraper im-
plicitly denigrates London's
other, mostly Modernist, tall
buildings, some of which inspire
a certain fondness among locals

(if not the Royals). It must be
said, however, that if the sky-
scraper is ever to be appropriate
in the Old World, this is probably
both the time and the place to
make the attempt.

Hugh Aldersey-Williams ш

The author is a free-lance journalist
based in London and New York. His book
New American Design will be pub-
lished by Rizzoli in the fall.

Gund by
Faneuil Hall

Faneuil Hall, Merchants Row,
State Street: This is Boston’s
Holy Land. You can practically
hear the chatter of merchants,
the call of orators, the shouts of
patriots—and the clamor of
preservationists. And the sifting
of “acres of drawings,” says ar-
chitect Graham Gund of Gra-
ham Gund Architects, Cam-
bridge.

Gund's new building on State
Street may be the city's most
painstaking exercise in contex-
tualism. The 12,000-square-foot
One Faneuil Hall Square reflects
the combined labors of city pres-
ervationists, the Boston Rede-
velopment Authority, and the
architects.

The “long bloody process," as
one former BRA staffer puts it,
began in 1979 after the 19th-
Century Sanborn building by
Alexander Parris, which had
occupied the site adjacent to
historic Faneuil Hall, burned
down. Round and round the
design went. Countless forms
and facades came forth—as
many as 120 in a room in one
day, the BRA staffer remembers.

The point of this arduous
exercise was to ensure that the
new building fit into Faneuil
Hall Square, with its small-scale
mix of periods—from master
architect Charles Bulfinch's Fed-
eral style enlargement of Faneuil

Hall from 1805, to Parris's
robust Greek Revival Quincy
Markets a generation later, to
the office towers of today.
Gund's role model, he says, was
the Sanborn Building itself,
which deferred to Faneuil Hall.

Unfortunately, One Faneuil
Hall Square does not defer
sufficiently to this noble father
figure. From too many vistas, the
offspring, a seven-story masonry
cube ordered into six symmetri-
cal bays on each side, over-
whelms its historic parent. The
reasons for this unintended re-
sult seem both predictable and
symptomatic of so many build-
ings that are self-consciously
historical, but fail to emulate the
past’s small scale and more de-
tailed craftsmanship.

As in so many Post-Modern
replays of historic outlines, the
underdetailed parts—the aus-
tere sweep of the roof, the blank-
eyed windows, and especially the
glass greenhouse, which man-
ages to stripe the sky as a black
void above Faneuil Hall's cor-
nice—draw away from the role
model in a kind of parody.

To be sure, the need to me-
diate between a historic area and
the slick Modernist towers
nearby would have daunted Bos-
ton's master architect Bulfinch
himself. To Gund's credit, too,
he has avoided the cliché of Bos-
ton brick, with a pink granite
facade that bows to State Street.

The BRA likes to use this
building as testimony to their
capacity to compromise between
old and new, to encourage a
structure that merges into the
cityscape. To this viewer, how-
ever, it is false homage to the
God of Context. One Faneuil
Hall Square remains evidence
that a stilted historicism cannot
compensate for the damage that
even relatively small increases in
scale and decreases in detailing
make. Jane Holtz Kay п

Gund's One Faneuil Square Hall (right) beside the original hall.

Berlin Academy of Science design by Robert A.M. Stern.

Academy design by Kollhoff and Betow.

Academy (continued from page 27)
tional center of modern science.
That goal is now resulting in
some remarkable architecture:
the Berlin Science Center de-
signed by James Stirling, Michael
Wilford & Associates opened in
May; the new Centre for Man-
ufacturing Technology by Fesel
& Bayerer opened last year and
immediately captured the Ger-
man architecture prize; and a
factory designed by Peter
Behrens (1910—12) for AEG is
now being converted into a
“thinktank.”

Aulenti’s scheme for the new
Academy was selected from pro-
posals submitted by eight invited
architects. Second prizes were
given to Robert A.M. Stern, New
York, and Hans Kollhoff with
Theodora Betow, West Berlin.

The original Academy of Sci-
ence was founded in 1700, and,
although located in East Berlin,

is still one of the most prestigious
scientific institutions in the

world. By contrast, the new West
Berlin academy is to be “future-
oriented,” examining the societal
problems caused by technology.

The building it will occupy
was completed in 1942 as part of
the National Socialist rebuilding
of Berlin. Damaged in 1945, it is
still partially occupied by the
Italian Consulate, which will
share the building with the
Academy.

The site was undoubtedly cho-
sen for its proximity to the Cul-
ture Forum, where prime exam-
ples of postwar architecture by
Scharoun, Mies, and Stirling are
located. But the Embassy’s ori-
gins did not go unnoticed by the
competition organizers, who
requested that any new architec-
tural elements be of Modern
design. These Modern additions
would contrast with the Neo-
Classical embassy and thereby
demonstrate that the “... period
[of the Third Reich] had been
intellectually conquered.” (A
group of period rooms are, how-
ever, to be restored.)

The winning scheme by Au-
lenti’s team accomplishes the
paradox of barely altering the
embassy’s footprint, while add-
ing a monumental presence to
West Berlin’s skyline. A slender
galleria slices through the em-
bassy’s east wing, culminating in
a ten-story apartment tower
whose west facade will offer
superb views of the Tiergarten.

Even more dramatic was Hans
Kollhoff's proposal. Uncomfort-

(continued on page 30)

Progressive Architecture 6:88

P/A NEWS REPORT

Academy (continued from page 29)

able with the concept of housing
a new humanistic science center
in a building built by the Nazis
for an Axis power, Kollhoff and
codesigner Theodora Betow
proposed a 17-story tower lo-
cated at the rear of the embassy
courtyard. The two structures—
embassy and tower—are oppo-
sites, balancing glass against
masonry, transparency or lucid-
ity against opacity, Modernism
against Neo-Classicism, past
against present.

In a departure from their re-
cent American projects, which
are more classicizing, the office
of Robert A.M. Stern proposed a
collection of irregular glass pavil-
ions, vaguely reminiscent of Ex-
pressionist architecture and in-
tended, said the architects, to
“represent the ideal of science as
a process of renewal.”

In the end, however, all three
schemes failed, despite aggres-
sive interventions, to rid the
building of its past. The Senat
itself is reconsidering the deci-
sion to house the Academy there.
A proposal to give the embassy
landmark status was recently
rejected. A second idea—to ren-
ovate the existing embassy but
erect a separate building for the
Academy—is now being investi-
gated. Either way, Academy rep-
resentatives say Aulenti will serve
as architect, and a final decision
is expected this month.

Mary Pepchinski a

The author, an American architect, is
teaching at the Technical University in
West Berlin.

Broadway Theaters
Earn Designation

After a protracted and compli-
cated battle between preser-
vationists, actors, theater owners,
real estate interests, and local
politicians, New York City’s gov-
erning Board of Estimate voted
in March to affirm the landmark
status of 28 Broadway theaters,
bringing the total of designated
theaters to 31. The Board also
adopted special guidelines that
allow owners to make produc-
tion-related changes to the thea-
ters on their own, as long as any
noted decor or architectural
feature altered during a produc-
tion is restored afterward.

The three major theater
owners and producers in the
area—the Shubert Organiza-
tion, the Nederlander Theater
Organization, and Jujamcyn
Theaters—had argued strongly
against designation, especially of
theater interiors. They claimed
that the financial constraints of
restoring any altered portion of

Progressive Architecture 6:88

The Music Box Theater.

a playhouse, including some-
times minute or detailed interior
ornamentation, would impede
the profitable operation of most
playhouses. But the special
guidelines, which were worked
out between the New York City
Landmarks Commission, the
owners, and the nonprofit or-
ganization Save the Theaters,
attempt to address the economic
realities of show production by
permitting changes required by
extravaganzas such as “Cats,” or
“Phantom of the Opera,” to be
made swiftly, without the normal
landmark review procedures
and without bureaucratic delay,
as long as those changes can be
reversed.

Owners also complained that
designation would rob them of
the potentially lucrative air rights
over the theaters—this despite
the New York City Planning
Commission’s proposed Theater
Retention Bonus. That bonus
would allow developers in the
theater district to gain extra floor
space with payments to the thea-
ter owners; in return, theater
owners would pledge not to de-
stroy the theaters and maintain
them as legitimate production
houses.

The Board’s action comes six
years after the demolition of the

Photos: Sanchez/Weber Photography

Helen Hayes, Bijou, and
Morosco theaters for a hotel
triggered angry protests from
various groups, including the
Municipal Arts Society, Actors’
Equity, and Save the Theaters.
Since then the Landmarks Com-
mission has reviewed 45 thea-
ters—at least 33 still used as
legitimate playhouses—in a 13-
square-block area around Times
Square. (Very few theaters re-
main on Broadway itself.) To-
gether these theaters represent a
concentrated and unique ensem-
ble of showhouses that have
helped define and nurture the
idea of “Broadway” as the pinna-
cle of showbusiness success and
glamour.

Although the Commission's
reports cite the designated thea-
ters' general "historic and sym-
bolic importance to the develop-
ment, heritage and cultural
characteristics of New York City,
New York State and the nation,"
emphasis on the theaters' archi-
tectural or aesthetic significance
varies greatly from building to
building. Indeed, some architec-
tural historians have noted that
many of the Broadway theaters,
when considered individually or
compared to other architectur-
ally important playhouses in
America or in Europe, are aes-
thetically undistinguished.

Nonetheless, a handful of the
Broadway showhouses do stand
out as unusual, innovative, or
strong examples of early 20th-
Century theater design. Among
the notables are the elegantly
proportioned Neo-Georgian
Music Box Theater designed in
1921 by the prolific theater ar-
chitect C. Howard Crane, and
Carrere and Hastings’ Globe
Theater, built in 1910 and re-
named the Lunt-Fontanne
in 1958.

Neither the Commission nor
the Board has acted on eight
other theaters that are now
either unused or have been con-
verted to movie houses. These

remaining theaters, all of which
are on 42nd Street, will likely be
upgraded as part of the 42nd
Street Development Corpora-
tion's plans to build office space
and "clean up" the thorough-
fare— plans which so far have
been delayed by legal action and
the search for adequate financial
backing. Peter L. Donhauser a

The author is an architectural historian
and an educator at the Metropolitan
Museum of Art.

Fabian Bachrach

Philip H. Hubbard, Sr.

Philip H. Hubbard,
Sr., 1900—1988

Philip Hollister Hubbard,
former President and Chairman
of the Board of Reinhold Pub-
lishing, died in April.

As president of Reinhold,
which publishes P/A, Hubbard
presided over the shift in edito-
rial direction that accompanied
the name change from Pencil
Points to Progressive Architecture
following World War II. That
change was described in the
magazine itself as a shift from a
“general journal for the drafting
room” to a broader publication
dedicated to “the vigorous pro-
motion of what we believe to be
good architecture and to the
active encouragement of all ...
who work honestly at improving
the human environment.”

Hubbard joined the Pencil
Points Press, Reinhold’s prede-
cessor, in 1923 as a sales repre-
sentative. He served as publisher
of Pencil Points and then P/A
from 1931 through 1946. He
was also instrumental in estab-
lishing the P/A Awards program
and played a major role in the
formation of the company’s book
division. He retired from the
position of Chairman of the
Board of Chapman-Reinhold in
1968.

His son Philip H. Hubbard,
Jr., has also served as publisher
of P/A and is now President of
the Reinhold division of Penton
Publishing and Vice President of
Penton Publishing. His eldest
grandson, Philip H. Hubbard
III, is an architect with Ferris
Architects, Southport, Conn. m

International Contract Furnishings Inc.

305 East 63rd St., New York, NY 10021
Telephone: 212/750-0900

Telex: 236073 ICF UR

Telefax: 2125931152

Circle No. 340

The Trattoria Chair
Design: Vico Magistretti, 1987

Here is an 18th century chair which
Magistretti has taken from a piazza
in Venice and sturdily re-created for
our time.

P/A NEWS REPORT

Endangered St. Mary of the Angels in Chicago.

Chicago (continued from page 27)
pick the most architecturally
important,” said Carol Wyant,
executive director of the LPCI.

Holy Family, the second oldest
Catholic church in Chicago, is
one of those important churches.
Built in 1860 to the designs of
Dillenburg & Zucher of Mil-
waukee and John M. Van Osdel,
it survived the Chicago Fire of
1871.

The church’s soaring tower
dominates its Near West Side
neighborhood, where it has
served a succession of immigrant
waves— Irish, Italian, Mexican,
black. But its neighborhood has
declined in recent years as one-
time parishioners moved up in
the world and out to the suburbs.
The mostly lower income
parishioners can't meet rising
maintenance costs, and restora-
tion is estimated at $3.5 million.

'The LPCI and the National
Trust are working feverishly to
help save the church. Recently, a
church council rejected a com-
mittee recommendation to de-
molish the church; the matter
now goes to a higher authority in
the Jesuit order.

The outlook is only slightly
brighter for St. Mary's of the
Angels: The archdiocese, which
had announced its intention to
close and possibly demolish the
deteriorating structure, recently
granted the congregation a two-
year reprieve. Parishioners are
eager to save the building, but
daunted by the estimated $1.4
million in necessary repairs to
the roof, dome, and walls.

'The imposing church, located

just west of the Kennedy Ex-

pressway on Chicago's West
Side, was designed by Worth-
mann & Steinback and built in
1911. It is considered one of the
finest examples of the Roman
Renaissance style in the United
States, with terra cotta and tile
dome modeled after St. Peter's

Progressive Architecture 6:88

Basilica in Rome.

Neither church is designated a
landmark, nor are they likely to
be, thanks to a March 1987
amendment to the city's land-
marks ordinance prohibiting
designation of a religious edifice
without the consent of the con-
gregation. That legislation dou-
bles the difficulty of attaining
landmark status not only for
inner-city churches, but for well-
kept churches of affluent con-
gregations.

'The Fourth Presbyterian
Church on tony North Michigan
Avenue is one example. Like
St. Bartholomew's Episcopal
Church in New York, Fourth
Presbyterian sits amid skycrapers
in one of the city's hottest real
estate markets. Cashing in on
the potential real estate value of
their property is something the
congregation doesn't want to
preclude.

One of the few success stories
in church preservation in the
Chicago area is Unity Temple in
Oak Park, a 1906 Frank Lloyd
Wright building. The congrega-
tion granted interior and ex-
terior easements to the LPCI,
giving the preservation group
control of the architecturally
significant elements of the build-
ing. But the preservationists
have had no such luck in Chi-
cago. Meanwhile, the LPCI and
National Trust are consulting
with lawyers to see if a successful
court challenge could be made
to the city's ordinance.

Lisa Goff п

The author is associate editor of Crain's
Chicago Business.

Landmarks Preservation Commission of Illinois

Low-Income
Infill Housing

A recent exhibition in New York
carried the message that low-
income, subsidized housing can
be an architecture of carefully
modulated forms, spaces, and
materials that dignifies its occu-
pants and enriches surrounding
communities. “Reweaving the
Urban Fabric: International Ap-
proaches to In-Fill Housing”
included 60 American and Euro-
pean examples.

As part of a three-pronged
effort by its sponsors—the New
York State Council on the Arts
and the New York Landmarks
Conservancy—to make housing
a public issue, the exhibition
joins the sponsors’ 1984 Harlem
In-Fill Housing Competition
and a more extensive housing
survey to be published this fall.

In contrast to the sleek, corpo-
rate gallery of the PaineWebber
Building where the show was
housed, the exhibit depicted an
architecture occupied and al-
tered by ordinary people. Their
presence in the architectural
photographs deepened the
show’s underlying stance that
design, at its best, isa humanistic
pursuit that integrates physical
form with culture in service to
society.

Of the American work, proj-
ects in New York, California,
and Charleston are among the

Hertzberger’s Kassel housing.

most effective in “reweaving”
old with new. A premiated entry
in the Harlem competition by
Steve Campbell and Mark Niel-
son of Payette Associates, Bos-
ton, comes closest to the Euro-
pean synthesis of local housing
traditions with progressive site
planning principles evident in
projects by Antoine Grumbach
in Paris, Herman Hertzberger in
Germany and the Netherlands,
and Aldo Rossi in Italy.

It is Hertzberger, however,
who consistently provides the
exhibition’s richest rewards. In
his low-rise projects in Berlin,

Herman Hertzberger

Kassell, and Amsterdam, units
reach to the light with balconies
and terraces that give rhythm
and scale to façades. There is no
ornament here, but there is a
tactility to these elevations that is
equal to the outstanding brick
row house work of English archi-
tects Jeremy Dixon and Alan
Colquhoun, also exhibited, who
make stylistic references to the
London row house. We may
look at these photographs and
others in the show and return to

the American city and suburb of

crackerbox condominiums ask-
ing: What is luxury?
Roy Strickland a

The author is a practicing architect and
assistant professor in the Graduate School
of Architecture, Planning and Preserva-
tion at Columbia University, where he
teaches the housing studio.

Arup Associates’ design for Paternoster
Square.

HRH vs. Architects
at St. Paul’s

“Architects have inflicted greater
damage on London than the
Luftwaffe managed during
World War II,” claimed Prince
Charles in a recent speech. This
sort of assertion doesn’t go down
well with architects; yet when the
Prince not only garners head-
lines in an otherwise indifferent
press, but has the ear of the cur-
rent RIBA president, Rod Hack-
ney, they take notice.

Moreover, the Prince went on
to commend features found in
an unsolicited proposal for a
sensitive site in the City of Lon-
don currently subject to a limited
competition among seven of the
world’s most highly regarded
firms (highly regarded, that is,
among architects). The proposal
that was to the Prince’s taste had
been commissioned from a lesser
known firm, John Simpson &
Partners, by a London evening
newspaper. The features praised
by the Prince were the pseudo-
traditional ones that pass for
“history” in popular sentiment.

The site in question is Pater-
noster Square, on the north side
of St. Paul’s Cathedral. While

(continued on next page)

Circle No. 305 on Reader Service C

Sketch: courtesy Building Design

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Р/А NEWS REPORT

HRM (continued from page 32)

small compared to the vast rede-
velopments of Docklands (see
story, page 27) and Kings Cross,
this square has been London
urbanism’s most important test-
ing ground for decades.

This precinct of freestanding
slabs and loosely contained
plazas, laid out by Sir William
Holford in the 1960s, was re-
garded at the time by critics such
as Nikolaus Pevsner as the defini-
tive solution to a sensitive area.
Today the slabs are obsolete for
current business needs, while
the plazas are unloved by office
worker and tourist alike.

The triangular site will be re-
developed by the Paternoster
Consortium as an office and
shopping complex. The Consor-
tium commissioned a competi-
tion for "an overall scheme ..
rather than a final design solu-
tion." Of the invited firms—
Arup Associates; Skidmore,
Owings & Merrill; Isozaki &
Associates; Richard Rogers
Partnership; Foster Associates;
MacCormac, Jamieson, Pritch-
ard & Wright; and James Stirling
& Michael Wilford Associates—
Arup was chosen to take the
project forward.

The jury—which included
critics Colin Amery and Charles
Jencks—made the unusual re-
quest that the Arup office work

with Richard Rogers in order to
incorporate a feature from his
proposal that opens up a view of
the north transept of St. Paul's
from below to those alighting
from underground trains.

Of the Arup project, little can
be said at present, as it has not
been published, although a
glimpse on a TV program re-
vealed that it was the only
scheme to recall Christopher
Wren's idea of an oval plaza,
reminiscent of Bernini's design
for St. Peters Square, set before
the west portals.

Foster's alternating bands of
public arcades and glazed pri-

Top — Kyoto Steak House — and right — Barr Office Building, both by
Rossen/ Neumann Associates, Southfield, Mich. Lower left — Art Van

Furniture by Robert L. Ziegelman/Architects, Birmingham, Mich.

vate courts was the most abstract
and insouciant—the most Mod-
ernist—of the proposals. The
most willful, however, was surely
Isozaki's farrago of forms—
trapezoid, quadrant, triangle,
square/circle/tower, oblong, cres-
cent, and octagon—ranged
along the churchyard edge, as if
to manifest the conflicts in what
the architects call “ап unsolve-
able puzzle, even within the cus-
tomary practice of urban de-
sign." Brian Hatton ГЫ

The author teaches at The Architectural
Association and writes about contempo-
rary art and architecture.

Council (continued from page 27)

The meetings were jointly spon-
sored by the National Endow-
ment for the Arts and the Archi-
tecture and Planning Research
Laboratory at the University of
Michigan.

It is no coincidence, say coun-
cil backers, that trading partners,
such as England, Denmark, Italy,
and Japan, known for well-de-
signed, high-quality products,
also have active design councils.
Still, establishing one here will
not be easy, as the forums made
clear. Manufacturers were wary
of governmental involvement in
design, and even some designers
questioned whether, in the
words of Neils Diffrient, “we can

Beautiful,

give a clear definition of what
good design is.”

Most participants, however,
seemed to agree that a U.S. de-
sign council should be regionally
based and privately funded,
should make use of existing busi-
ness and design networks and
media, and should conduct re-
search into what constitutes good
design and what its economic
value really is.

A question raised by the
forums was why the U.S. has so
many poorly designed products
when it is home to many of the
world’s leading designers. Put
another way, why have U.S. de-
signers often found foreign com-
panies more receptive to new
design ideas than companies
here? Getting corporations to
recognize the country’s own de-
sign community as a valuable
and precious resource is itself a
worthy task for a design council.

Its NEA funding expended,
Design America is now seeking
new funds and further participa-
tion from the business and de-
sign communities. Interested
parties should contact Colin
Clipson at the College of Archi-
tecture and Urban Planning,
'The University of Michigan,
Ann Arbor, Michigan 48109-
2069. Thomas Fisher ш

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Progressive Architecture 6:88

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Circle No. 330 on Reader Service Card

Perspectives

ipn

222

Site plan of Montjuic Hill in Barcelona
designed by Correa & Mila (top) shows
location of major sports venues for the
1992 Olympics, including stadium reno-
vation by Gregotti and Correa (left),
covered sports hall by Isozaki (middle,
and above), and Bofill’s wrestling hall
(right).

An international line-up of ar-
chitects is designing for the
1992 Olympics in Barcelona.

i"
"
—

A Designer
Olympics

The 1992 Olympic Games in
Barcelona will be the most ar-
chitecturally oriented since the
Tokyo Games in 1964, according
to Jorge Carbonell, director of
the Olympic Village project.
Master plan designers Martorell
Bohigas Mackay and the Bar-
celona City Council are currently
selecting architects from around
the world to design segments of
the Village. On the other side of
town, plans for the principal
sports halls on Montjuic Hill
have been completed by their
many architects, according to a
master plan by Correa & Mila,
Barcelona, and foundation work
is currently under way.

The most innovative structure
for the Games is Isozaki’s cov-
ered sports hall, designed to seat
17,000 spectators. Steel supports
are currently being put in place
for a 140 x 110 meter space-
frame roof structure, which will
be assembled on the ground and
then jacked hydraulically 45
meters up into position. The
three-stage “pump-up” opera-
tion avoids the need for scaffold-
ing and could take as little as a

Progressive Architecture 6:88 37

РУЧА IME RIS ee УЕ 5

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En l le Ka ns Шш; ай Бай

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Bofill’s wrestling hall and press center

(above and in plan, right).

38 Progressive Architecture 6:88

пг

day. Shuichi Fujie, director of
architecture for Arata Isozaki &
Associates Spain, says this is the
first time the technique has been
used on such a large structure
outside Japan.

The main stadium on
Montjuic Hill is a restoration of
one built for the 1936 Games,
which were never actually held
in Barcelona but moved to Berlin
at the outbreak of the Spanish
Civil War. Principal architects
Vittorio Gregotti and Federico
Correa are preserving the origi-
nal perimeter of the old struc-
ture, rather than expanding it as
initially conceived. The addi-
tional spectator seating require-
ment—raising the capacity from
36,000 to 70,000 with provisional
seating for 10,000 more during
the Games—is instead being met
by simultaneously shrinking and
digging out the arena to lower
the track level 11 meters.
Changes in Olympic running
event distances over the past
half-century conveniently ac-
commodate this contraction with
a track length of 400 meters,
down from 500 meters in 1936.
A new second tier of seating will
meet the increased demand.

At the opposite end of the
central Olympic plaza atop
Montjuic will lie a new building
by Ricardo Bofill that serves the
delightfully ironic double role of
wrestling hall and press center.
For his return performance in
Barcelona, the architect is show-
ing his well-known brand of
romantic Neo-Classicism, and
has not reverted, as might have
been expected, to the Catalan
regional Modernism of his early
work in the area.

The wrestling hall draws on
the Classical gymnasium of
Olympian Greece as well as the
existing Neo-Classical structures
on Montjuic that were built for
the 1929 International Fair.
(The most notable of these, the
grandiose former Palau Na-
cional, now houses the Museum
of Catalan Art, and its interior is
being redesigned by Gae Aulenti
in time for the 1992 festivities.)
Project architect Peter Hodgkin-
son describes the hall’s squat
Neo-Classical order as a typically
Catalan interpretation of the
Beaux-Arts style. Construction
is to use traditional Catalan
roofing tile and a concrete that
approximates the warm yellow
sandstone of existing Montjuic
buildings.

Across town, Martorell
Bohigas Mackay is drawing up
more detailed plans for the
Olympic Village (P/A, March
1987, pp. 45—46). Considerable
modifications have been made to
(continued on page 40)

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Detail of Olympic Village master plan.

ШУ

(continued from page 38)

the original master plan, al-
though the supergrid, based on
groups of three of Barcelona’s
historic city blocks, remains. This
will be a small Village, with only
2000 dwellings, and its density
will be lower than that of Woo
& Williams’s village for the immi-
nent Seoul Games, or the aver-
age for Barcelona.

The three superblocks that
make up most of the develop-
ment will be under control of
different architectural teams,
who will design not only housing
but ceremonial features, such as
the arches that tie the blocks
together over the 19th-Century
street plan.

David Mackay stresses that the
eclecticism here will be more
restrained than that of Berlin’s
IBA housing program (P/A,
Nov. 1987, pp. 41—46). Some
commonality will be ensured by
a recommendation that firms
use similar, locally available ma-
terials. But, says Mackay, “We

HOO

way

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А

would like to be as eclectic as the
city [of Barcelona]. What we
don’t want it to be is like the IBA
which was deliberately eclectic—
in other words, a false situation.
We'd like it to be more like
Amsterdam in the 1920s."

A welcome addition to the
urban scheme should result from
the recent decision to bring the
Olympic yachting events from
La Palma on the island of Mal-
lorca back to Barcelona. These
events are rarely held in the same
location as other sports. The
change presents an exciting op-
portunity to open up the Olym-
pic Village to its Mediterranean
shore, giving Barcelonans more
access to the sea that is paradoxi-
cally so separate from this beauti-
ful old port city.

Hugh Aldersey-Williams m

The author is a free-lance journalist
based in London and New York. His book
New American Design will be pub-
lished by Rizzoli this fall.

IN McCORMICK PLACE
THERE'S A BEAUTIFUL EXAMPLE
OF A TOUGH SPECIFICATION.

THIN SET The designers of Chicago's McCormick Place
it renovation needed a floor tough enough to stand up
to 1.5 million visitors a year. And it had to do it
TERRAZZO i
Thin-set Terrazzo from General Polymers gave
FROM them infinite design possibilities and a surface that can
take the punishing traffic of this, the world’s busiest

GENER AL convention center.
Today’s Thin-set Terrazzo is strong, yet light
p Y ERS enough to be installed anywhere from the ground floor
e tothe penthouse.

So when you're faced with a demanding space,
select the one surface that stands up to abuse
beautifully.

Thin-set Terrazzo from General Polymers.

For a free brochure on Thin-set Terrazzo and other General Polymers
floors, fill in this coupon and mail to: General Polymers Corporation,
145 Caldwell Drive, Cincinnati, OH 45216.

Name

Company
Address
City State
Zip ___________ Phone No.

PA
Circle No. 339 on Reader Service Card energ 2 me
A Cambridge General Company

Architect: Lester B. Knight & Assoc. Inc./Skidmore-Owings & Merrill (Joint Venture), Chicago, IL

Installing Contractor: Capital Terrazzo Co., Inc. Marbelette Floor Co. (Joint Venture), Chicago, IL Progressive Architecture 6:88 АЛ

over El

Only D
with the

JONES &CO 8@

In a changing world, count on Dover to keep you current.
With an innovative and flexible approach to elevator
signal fixtures—Impulse.

Impulse" is the first system that lets you integrate
signage directly into the cab operating panel. So tenants’
names (or any other kind of ID) can be right there by the
Visit with us button. Even better, it’s completely modular. You can add
at CS and BOMA to, delete, re-arrange elements as needed.

дог Keeps ир
loneses.

Signage and buttons are recessed at a 20° angle
facing up, so they're easy to read, easy to use.

Since it’s pre-engineered, Impulse can be assembled
and delivered quickly. Which can be important when

you're keeping up with the Joneses. ELEVATORS
For more information on Impulse signal fixtures, Making more
call your local Dover office or write Dover Elevator elevators makes

Systems, Inc., P O. Box 2177, Memphis, TN 38101. Dover No.1

Guard® Wallcovering pre-
sents Deidre, a unique em-
bossing that evokes the
“tailored” look of a classic
fabric weave. The richness
of the embossing makes it

Progressive Architecture 6:88

INTRODUCING DEIDRE.
A DELICATE BALANCE OF TEXTURE AND HUE.

CONTRACT VINYL WALLCOVERING

Columbus Coated Fabrics + 1280 N. Grant Ave.
PO. Box 208 * Columbus, Ohio 43216 * 614/297-6032

Circle No. 321 on Reader Service Card

ideal for camouflaging im-
perfections in wall surfaces.
And with the flexibility of
over 40 color selections,
function and form were
never in better balance.

BORDEN)

Exhibitions

Through June 19

Frank Lloyd Wright and the
Johnson Wax Buildings: Creat-
ing a Corporate Cathedral. High
Museum of Art, Atlanta. Also,
July 16-September 4, Walker
Art Center, Minneapolis. (See
P/A, April 1986, p. 27.)

Through June 23

Discovery Through Diversity, a

furniture design exhibition. Art
and Architecture Design Gallery,
Baltimore, Md.

Through June 25
Aldo Rossi. Kirsten Kiser Gal-
lery, Los Angeles.

Through June 25

The Bauhaus: Masters and Stu-
dents. Barry Friedman Gallery,
New York.

Through June 26

The Art that is Life: The Arts
and Crafts Movement in
America 1875—1920. Cooper-
Hewitt Museum, New York.
(See P/A, May 1987, p. 32.)

Through June 30
Architectural Drawings of the
Old Executive Office Building
1871—1888. Octagon Museum,
Washington, D.C.

Through June 30

Three Designs: The Norman
Rockwell Museum Gallery, Old
Corner House, Stockbridge,
Mass. (See P/A, April, p. 25.)

Through July 4

A New Brooklyn Museum: The
Master Plan Competition.
Brooklyn Museum, Brooklyn,
N.Y.

Through July 10

The Rise and Fall of New York:
Building and Unbuilding in
Manhattan. New York Historical
Society, New York.

Through July 10

The Long Island Country
House, 1870—1930. The Parish
Art Museum, Southampton,
N.Y.

Through July 15

Artistic Houses: Lavish Interiors
of Nineteenth-Century New
York. New York Historical Soci-
ety, New York.

Through July 17
Arquitectonica. Galerie d’archi-
tecture Arc en Réve, Bordeaux,
France.

Through July 31

The Experimental Tradition, 25
Years of American Architectural
Competitions: 1960—1985.
National Academy of Design,
New York.

Through July 31

The Architecture of Richard
Morris Hunt. Los Angeles
County Museum of Art, Los
Angeles. (See P/A, May 1986, p.
28.)

Through August 14
Interlacing: The Elemental Fab-
ric, curated by Jack Lenor Lar-
sen. The Textile Museum,
Washington, D.C.

Through August 26

Otto Wagner: Drawings. Univer-
sity Art Museum, University of
Minnesota, Minneapolis, Minn.
(See P/A, April, p. 28.)

Through August 31

Sheet Metal Craftsmanship:
Progress in Building. National
Building Museum, Washington,
D.C. (See P/A, May 1987, p. 22.)

Through August 31

James W. Rouse Retrospective.
National Building Museum,
Washington, D.C.

Through September 4
Architectural Art: Affirming the
Design Relationship. American
Craft Museum, New York.

June 23-August 30
Deconstructivist Architecture.
‘The Museum of Modern Art,
New York.

July 1-September 15

Frank Lloyd Wright: In the
Realm of Ideas. National Mu-
seum of American History,
Smithsonian Institution, Wash-
ington. (See P/A, March, p. 37.)

July 11-September 25
Creating the Early Federal City.
Octagon Museum, Washington,
D.C.

July 14-August 31

California Lifeguard Towers,
including designs by Hans Hol-
lein, Richard Meier, Frank
Gehry, and Michael Graves.
Kirsten Kiser Gallery, Los
Angeles.

Competitions

June 30

Submission deadline, Quater-
nario 88, for technology in archi-
tecture. Contact Planning Re-
search Center, Faculty of Archi-
tecture, University of Sydney,
2006, Sydney, N.S.W., Australia.

Harry Weese & Associates

August 1

West Coast Gateway Interna-
tional Design Competition. Con-
tact West Coast Gateway, 11300
W. Olympic Blvd., Suite 730,
Los Angeles, Calif. 90064.

August 1

Nominations deadline, Good
Offices: The Seventh Arango
International Design Exhibition.
Contact Arango Design Founda-
tion, $6 Carol Damian, 1115 N.
Greenway Dr., Coral Gables,
Fla. 33134.

Conferences

June 24-26

32nd Annual CSI Convention
and Exhibit, Convention Center,
Washington, D.C. Contact Con-
struction Specification Institute,
601 Madison St., Alexandria,
Va. 22314 (703) 684-0300.

July 17-20

CTDA/AATMCA International
Ceramic Tile Exposition, Mos-
cone Center, San Francisco.
Contact Ceramic Tile Distrib-
utors Association, 15 Salt Creek
Lane, Suite 422, Hinsdale, Ill.
60521 (312) 655-3270.

August 1—5

15th Annual Conference on
Computer Graphics and Interac-
tive Techniques, Atlanta, Ga.
Contact SIGGRAPH '88 Confer-
ence Management, Smith Buck-
lin and Associates, Inc., 111 E.
Wacker Dr., Suite 600, Chicago,
Ill. 60601 (312) 644-6610.

August 3—6

Design Independence: Shaping
the Future, American Society of
Interior Designers' National
Conference, Washington, D.C.
Contact ASID, 1430 Broadway,
New York, N.Y. 10018-3399
(212) 944-9920.

August 4—6

The Structure of an Architec-
tural Interiors Firm, San Fran-
cisco. Contact AIA Interiors
Group, AIA, 1735 New York
Ave., N.W., Washington, D.C.
20006 (202) 626-7300.

Progressive Architecture 6:88

INTRODUCING DRY VIT” DETAILS FOR AUTOCAD

7 "f

Designing with Dryvit . . . At no cost to qualified
architects, a design package containing nearly 200
design details for use on AutoCAD and a

2-volume comprehensive technical presentation.
Write on your letterhead or call us Toll Free.

Design Details . . . Easy To Use.
Bold illustrations are ready for
direct use in designing new

and retrofit buildings using

both in-place and panelized
construction.

cad?ry is a trademark of Dryvit Systems, Inc
AutoCAD is a registered trademark of Autodesk, Inc

21ST CENTURY BUILDING TECHNOLOGY, TODAY

46 Progressive Architecture 6:88

An important part of Designing with Dryvit is cad?ry, a set of disks
containing nearly 200 construction details, drawn and ready for immediate
use on AutoCAD. Cad?ry lets you use the power of AutoCAD's
computer-aided design and drafting
program to dramatically increase
your productivity.

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with Dryvit. Request from —

Dryvit Systems, Inc.

Headquarters — P.O. Box 1014
One Energy Way, West Warwick, В! 02893
800-4-DRYVIT

Circle No. 326

d ryvit 4

Arthur
Rutenberg

Luxury Golfside Florida Homes
At Saddlebrook Resort

Now You Can Own A Luxury Saddlebrook Florida Home

You can have a luxurious home built on your site at Saddlebrook's Fairway Village.
Homes like the award-winning Arthur Rutenberg designs* shown above, as well as
Saddlebrook cluster homes, or one designed by your own architect. Golf course
and other choice building sites are available . . . all with the sparkling ambiance
and luxury conveniences of Saddlebrook golf and tennis resort. Homes from
$150,000. For more information, write or call John Fahey, VP Sales, Saddlebrook.

Biscayne

One of the largest, most magnificent Homes in
the Arthur Rutenberg collection, judged as the
“Best Designed Home of the Year” by the National
Association of Builders. The Biscayne, with its
elegant vaulted ceilings, enormous master suite
and every conceivable amenity, is the epitome of
the large, luxury Florida home.

The Gulfstream V

From its angled entrance foyer to the elegant
raised bath in the master suite, the Gulfstream V
is one of Arthur Rutenberg's most exciting, cre-
ative designs.

* All Arthur Rutenberg designs are available at
Saddlebrook.

Sadie bio

Татра Bays Great Golf and Tennis Resort
100 Saddlebrook Way © Wesley Chapel (Tampa), FL 34249

36 Holes of Golf Designed
by Arnold Palmer

37 Championship Tennis
Courts

500,000 Gallon “Superpool”
Water Complex

Fitness Center & Spa

Restaurants and Specialty
Shoppes

Golf Course Lots Available

ص
D FOUR‏
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1986

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Telephone (813) 973-1111 € Telex 522621 SADDLEBROOK WSCL

Located just 25 minutes north of Tampa International Airport

Progressive Architecture 6:88

Circle No. 364 on Reader Service Card

none S әлү

Now—Two Ways To
Save and Organize
Your Copies of P/A.

Protect your P/A issues from soil
and damage. Choose either the
attractive library case orthe all new
binder. Both are custom designed

in blue simulated leather with the
magazine's logo handsomely
embossed in white.

Jesse Jones Box Corporation
Dept. P/A

499 East Erie Avenue
Philadelphia, Pa. 19134

My check or money order for
$. . enclosed.

Please send P/A library cases
Onefor $7.95

. —— Three for $21.95

Six for $39.95

binders

One for $9.95

. .. Three for $27.95

Six for $52.95

Name

Company
Street
City
State & Zip

Check must accompany order.

Call 800-972-5858 for credit card
orders. Add $1.00 per item for post-
age and handling. ($2.50 per item
outside U.S.A.) PA residents add
6% sales tax.

Allow 4-6 weeks delivery

HARRY HOPMAN/SADDLEBROOK
INTERNATIONAL TENNIS

Junior Summer Camp at Special Rates, 29- Sept. 17, 1988

Harry Hopman/Saddlebrook Interna-
tional Tennis welcomes adults and

(Head Professional) and Howard
Moore (Camp Director) head the staff of
juniors of all ability levels, from be- experienced Harry Hopman instructors
ginners to acclaimed touring profes- N | including Roland Jaeger and Alvaro
sionals. The renowned Harry Hopman У Betancur. Dr. Jack Groppel directs high-
tennis program features year-round daily tech physical and mental conditioning.
Clinics, five hours of intensive instruction Home of the United States Professional
with never more than four players per court and Tennis Association and the Palmer Academy
instructor. The Hopman drills and teaching traditions with excellent college-preparatory academics.

continue as Lucy Hopman, Tommy Thompson U.S.: 1 800 237-7519; In FL: 1 800 282-4654
SUSPTA HARRY HOPMANÍSADDLEBROOK INTERNATIONAL TENNIS

eu] xx 100 Saddlebrook Way . Wesley Chapel, FL 34249
ve) X Telephone (813) 973-1111 • Telex 522621 SADDLEBRK WSCL

Circle No. 365 on Reader Service Card

hom $ 3 days/2 nights
= z per person х
Fou double occupancy.

Tax & gratuities not included.
Rate valid. May 27 - Sept. 14, 1988

For reservations call toll-free:
1800 237-7519;
In FL 1 800 282-4654

Saddlebrook.

:ß Tampa Bays Great Golf and Tennis Resort
100 Saddlebrook Way, Wesley Chapel, Florida 34249 813-973-1111

Circle No. 366 on Reader Service Card

Progressive Architecture 6:88

Shaw-Walker is taking
exception to the rules of
quick shipping.

Remember when you loved to play
Chinese Checkers... except some-
times your marbles were hopelessly
immobile?

Shaw-Walker's Express Delivery pro-
gram addresses your real concern—
not when your order leaves our dock,
but when it will arrive at yours.
Express Delivery means that your
furniture will be delivered when
promised, on time...no matter what
obstacles get in the way.

Shaw-Walker is taking
exception to the rules
of customer service
communication.

Remember when you loved to play
Charades... except nobody ever quite
seemed to understand your signals?

Shaw-Walker's comprehensive
Training Programs ensure that,
company-wide and throughout the
dealer network, our people all
speak the same language— yours.

Circle No. 370 on Reader Service Card

NEW GAME

Shaw-Walker is taking
exception to the rules of
design continuity.

Remember when you loved to play
Canasta... except your cards never
quite matched your partners?

Shaw-Walker's Woodwind Modular
and Freestanding Wood Furniture
provide design continuity, from our
systems workstations to executive
offices and conference rooms. Two
Woodwind profiles, four hardwood
veneers and ten wood finishes pre-
sent hundreds of design options,
ensuring that coordinated solutions
are in hand.

IN TOWN

Shaw-Walker is taking
exception to the rules of
product obsolescence.

1982 Selchow & Righter

Remember when you loved to play
Scrabble®.. except your words were
never expandable?

Shaw-Walker's Tempo 3 system has
been around for 10 years, yet its 3/2”
panels are still state-of-the-art, pro-
viding expandable cabling channels
for electrical, data and telecom-
munications. You can add panels, or
expand to an entirely new system.
Shaw-Walker makes obsolescence
a thing of the past.

For more information call 1-800-345-9404

Progressive Architecture 6:88

Esherick Homsey Dodge

and Davis Architects Architects, Inc.

Tech Wall offers architects
and builders a stunning

„ range of design
possibilities — without the
compromises common

to other systems.

From radiused

corners to intricate com-
pound curves; from contin-
uous coping to projected
curved panels; almost any-
thing you can design can
be realized with Tech Wall.
And since Tech Wall is
solid aluminum, there are

UNCOMPROMISED

DESIGN

Circle No. 383 on Reader Service Card

T E € H W A L L
Top Left: Top Right:
Margie's 1522 K Street
Bridal Boutique Washington, D.C.
Chicago, IL Don A. Hawkins
Balsamo/Olson Group — Associates
Below Center: Bottom:
R.A.B. Motors Central Park Square
San Rafael, CA Phoenix, AZ

Clark — Van Voorhis

no standard sizes. Every
panel is made to meet the
architectural requirements
of your job.

Tech Wall also
offers a virtually unlimited
range of tested and proven
finish options.

For further infor-
mation, call today.

1-800-631-7379
in New Jersey 201-272-5200

THECISGROUP

FLEXIBILITY

36TH ANNUAL COMPETITION FOR PROJECTS

Progressive Architecture
announces its 36th annual P/A
Awards program. The purpose
of this competition is to recog-
nize and encourage outstand-
ing work in Architecture and
related environmental design
fields before it is executed. Sub-
missions are invited in the three
general categories of architec-
tural design, urban design and
planning, and applied architec-
tural research. Designations of
first award, award, and citation
may be made by the invited jury,
based on overall excellence and
advances in the art.

Мот YET COMPLETED

Р/А Awards
Program

ARCHITECTURE
PLANNING
RESEARCH

JuRY FoR THE 36TH
P/A AWARDS

Architectural Design: Anthony
Ames, Anthony Ames Architect,
Atlanta: Terry Farrell, Terry
Farrell Partnership, London;
Adrian Smith, Partner, Skidmore,
Owings & Merrill, Chicago; Ber-
nard Tschumi, Bernard Tschumi
Architects, New York, Dean,
Columbia University Graduate
School of Architecture, Planning
and Preservation, New York.

Urban Design and Planning:
Alexander Cooper, Alexander
Cooper + Partners, New York;
Donn Logan, ELS/Elbasani &
Logan Architects, Berkeley,
Calif.

Research: Donald Prowler,
Assistant Professor, University
of Pennsylvania Department of
Architecture, Philadelphia; Polly
Welch, Welch & Epp Associates,
Arlington, Mass.

Judging will take place during
October 1988. Winners will be
notified, confidentially, before
October 31. Public announce-
ment of winners will be made at
a ceremony in New York on
January 20, 1989, and winning
entries will be featured in the
January 1989 P/A. Clients, as
well as professionals responsible,
will be recognized. P/A will
arrange for coverage of winning
entries in national and local
media.

Turn page for rules and entry forms.

DEADLINE FOR SUBMISSIONS: SEPTEMBER 6, 1988

Progressive Architecture 6:88

Entry form: 36th P/A Awards Program

Please fill out all parts and submit, intact, with each entry (see paragraph 14 of
instructions). Copies of this form may be used.

Entrant:
Address:

Credit(s) for publication (attach additional sheet if necessary):

Entrant phone number:
Project:

Location:

Client:

Client phone number:

Category:

Entrant:
Address:
Project:

I certify that the submitted work was done by the parties credited and meets all
Eligibility Requirements (1—7). All parties responsible for the work submitted
accept the terms of the Publication Agreement (8—9). I understand that any entry
that fails to meet Submission Requirements (10— 18) may be disqualified. Signer
must be authorized to represent those credited.

Signature
Name (typed or printed):

Awards Editor/Progressive Architecture
600 Summer Street, P.O. Box 1361, Stamford, CT 06904

Project:

Your submission has been received and assigned number:

Entrant:
Address:

(Receipt)

Awards Editor/Progressive Architecture
600 Summer Street, P.O. Box 1361, Stamford, CT 06904

Entrant:
Address:

{Return label)

Progressive Architecture 6:88

Eligibility

1 Architects and other environmen-
tal design professionals practicing in
the U.S. or Canada may enter one
or more submissions. Proposals may
be for any location, but work must
have been directed and substantially
executed in U.S. and/or Canadian
offices.

2 All entries must have been commis-
sioned, for compensation, by clients with
the authority and the intention to carry
out the proposal submitted. Schemes
developed for design competitions
must meet the same qualifications;
the submitted design must be the
one the client intends to execute.
(For special provision in Research
category only, see Item 6.)

3 Prior publication does not affect
eligibility.

4 Architectural design entries may
include only buildings and com-
plexes, new or remodeled, that are
scheduled to be in any phase of con-
struction in 1989. Indicate schedule
on synopsis page (Item 12).

5 Urban design and planning entries
must have been accepted by the
client, who intends to base actions on
them in 1989. Explain implementation
plans on synopsis page (Item 12).

6 Research entries may include only
reports accepted by the client for
implementation in 1989 or research
studies undertaken by entrant with
intention to publish or market
results. Explain basis of eligibility on
synopsis page (Item 12).

7 The jury's decision to premiate
any submission will be contingent on
verification by P/A that it meets all
eligibility requirements. For this
purpose, clients of all entries selected
for rccognition will be contacted by
P/A. P/A reserves final decision on
eligibility and accepts noliability in
that regard. Please be certain entry
meets above rules before submitting.

Publication agreement

8 If the submission should win, the
entrant agrees to make available fur-
ther graphic material as needed by
P/A.

9 In the case of architectural design
entries, P/A must be granted the first
opportunity among architectural
magazines for feature publication
of any winning project upon
completion.

Submission requirements

10 Entries must consist of legibly
reproduced graphic material and
text adequate to explain proposal,
firmly bound in binders no larger than
17" in either dimension (9" x 11" pre-
ferred). No fold-out sheets; avoid
fragile spiral or ring bindings.

11 No models, slides, films, or video-
tapes will be accepted. Original
drawings are not required, and P/A
will accept no liability for them.

12 Each submission must include a
one-page synopsis, in English, on the
first page inside the binder, identify-
ing the project and location, clarify-
ing eligibility (see Item 4, 5 or 6),
and summarizing principal fea-
tures that merit recognition in this
program.

13 To maintain anonymity, no names
of entrants or collaborating parties
may appear on any part of submis-
sion, except on entry forms. Credits
may be concealed by any simple
means. Do not conceal identity and
location of projects.

14 Each submission must be accom-
panied by a signed entry form, to be
found on this page. Reproductions
of this form are acceptable. All four
sections of the form must be filled
out, legibly. Insert entire form, intact
into unsealed envelope attached
inside back cover of submission.

15 For purposes of jury procedure
only, please identify each entry as
one of the following: Education,
Houses (Single-family), Housing
(Multiple-unit), Commercial, Industrial,
Governmental, Cultural, Recreational,
Religious, Health, Planning andlor
Urban Design, Applied Research.
Mixed-use entries should be classi-
fied by the larger function. If unable
to classify, enter Miscellaneous.

16 Entry fee of $75 must accompany
each submission, inserted into
unsealed envelope containing entry
form (see 14 above). Make check

or money order (no cash, please)
payable to Progressive Architecture.

17 P/A intends to return entries
intact, but can assume no liability for
loss or damage.

18 Deadline for sending entries is
September 6, 1988. Any prompt
method of delivery is acceptable.
Entries must show postmark or other
evidence of being en route by mid-
night, September 6. Hand-delivered
entries must be received at street
address shown here, 6th floor recep-
tion desk, by 5 p.m., September 6.

Address entries to:
Awards Editor
Progressive Architecture
600 Summer Street

Р.О. Box 1361
Stamford, CT 06904

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56 Progressive Architecture 6:88

AND WHERE MONEY’S PRECISELY THE POINT.
\

Over the years, we here at Marvin have built
something of a reputation for ourselves. We've become
the company to call when the plans call for a dazzling,
one-of-a-kind masterpiece.

But there's another side to Marvin. A more practical,
down-to-earth side. In addition to difficult, one-of-a-kind
windows, we make the industry's broadest and most
versatile line of standard shapes and sizes.

As a result, you can probably maintain the basic
integrity of your design at practically any budget level.

You see, we make windows to order. Which means
you can specify the features you want us to build in. And
you can specify the features you want us to leave out.

For more information call 1-800-346-5128 (in
Minnesota, 1-800-552-1167; in Canada, 1-800-263-6161)
or write, Marvin Windows, Warroad, MN 56763.

Sometimes money's no object. Sometimes money's
precisely the point. Which is precisely why Marvin =
are always a smart choice.

Circle No. 351 on Reader Service Card

Progressive Architecture 6:88 57

Member Companies

Atelier International
Brayton International
Metropolitan

Vecta

58 Progressive Architecture 6:88

L. Paul Brayton,

President,

Steelcase Design Partnership
& Brayton International

Jim Welch,
President, Vecta

Steelcase
Design Partnership

Ed White,
President, Metropolitan

Stephen Kiviat,
President, Atelier International

A Progress Report from the
Steelcase Design Partners

We spend a lot of time with
people like you— people who
know actions speak louder
than words.

And we hear one question
over and over: “When will I start
to see the results of your new
Partnership?"

The answer is: Soon.

The four of us are working
together. Our people are work-
ing together. And we're all taking
advantage of the capabilities
Steelcase offers us.

Our designers are learning
about new materials technology,
for example.

Our engineers and our
manufacturing, distribution
and financial people are being
exposed to more sophisticated
systems, processes and
techniques.

And our products and serv-
ices will soon reflect what
they're taking in.

And you can well imagine
what that means for you:

We'll come up with more
trend-setting designs faster,
because we now have the
wherewithal to bring more of
our innovations to market.

And their prices will be lower,
their quality higher and their
delivery times shorter, thanks
to manufacturing and distribu-
tion efficiencies.

And our service and after-
sale support will get sharper, too.

Our companies will continue
to operate independently and
compete head to head. We're
still entrepreneurs, after all.

But we now all share some-
thing none of us had before:
The resources of Steelcase.

And that's progress.

Progressive Architecture 6:88

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Circle No. 327

PIA PRACTICE

Economics (continued from page 63)
into thin air.

Every bull and bear market is
somewhat different, but the
schematic chart (p. 63) is one
that every architect should study
carefully. It displays stock prices
over time, but ultimately derives
its pattern from the psychology
of investor fear and greed. The
arrows point to where the New
York Stock Exchange and
Japan’s Nikkei Stock Index are
in the middle of 1988. We are in
a post-crash recovery in stock
prices which (historically) brings
the most automatic price move-
ment in the financial markets,
and which does not offer hope
for the U.S. economy.

The widespread belief that we
are not actually in a bear market
will only extend the length of
phases A, B, and C—perhaps
even beyond the duration shown
on the chart. But those who are
predicting that the bear market
is in hibernation, or that we are
in the early throes of the next
bull market, are ignoring the
history of the markets.

The Chart

Look at the chart as a sort of
financial market “master-plan.”
Phase 1 brings a rise in stock
prices and reflects a revival of
confidence in business after the
previous bear market. A middle
ground is then reached during

Phase 2 as security prices con-
tinue to move up їп response to
known improvement in corpo-
rate earnings. Profits that result
from such earnings amount to
the only sound foundation upon
which a sustained advance in
stock prices can be built. Phase 3
sees prices increase on height-
ened expectations as opposed to
real value. The perceptions of
informed investors this time
began to change in the United
States in early 1987, and this led
in August to the pinnacle or
climax of Phase 3.

Phases 4, 5, and 6 in the bear
market have similar but some-
what reverse explanations. Dur-
ing Phase 4, stocks go down for

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Circle No. 355 on Reader Service Card

PAWLING

CORPORATION

no visible reason as informed
investors quietly distribute their
stocks to the less informed, who
are busy accumulating them. In
Phase 5, stocks go down in re-
sponse to obviously deteriorating
business conditions, which is the
phase we are now entering. Fi-
nally, in Phase 6, people have to
raise money at any cost to stave
off bankruptcy, and begin to sell
assets: homes, stocks, bonds,
collectibles, even gold.

Lessons for the Profession
Exactly what will happen next in
the world’s financial arena is
almost beyond analysis, but there
are some general signposts that
architects should be aware of.

€ A breakdown in the price of
gold and/or oil would signal in-
creased odds of a major defla-
поп. Since the assets of many
architectural clients are in
acreage and buildings, such a
deflation might bring on bank-
ruptcies in that group.

e If the Dow Jones Industrial
Average (as charted daily in The
Wall Street Journal) were to fall
decisively below a 1650 reading,
it would ensure that we are in a
severe bear market. Recognizing
this 1650 "signpost" in advance
allows a timely reaction if and
when it occurs.

e Because interest rates аге the
single most important influence
on the health of the design and
construction industries, much
higher rates would presage a
business downturn. Investing in
gold (by way of the actual asset
or through a gold fund) may be
the best way for an individual or
firm to hedge against a slump
because gold increases in value
in response to both financial
crises and substantial increases
in interest rates.

Reading the Economy
Ihe rapidly changing complex-
ion of the national and interna-
tional economy means that the
profession needs information
about trends in stocks, bonds,
gold, interest rates, and the
like—all slanted toward the de-
sign and construction industries.
But the information in some of
the media is either untrue or
(much worse) misleading. How
does one "listen" to the financial
markets? Here's one such way:
'The Industry Prices table,
presented on page 9 of Wednes-
day's Investor's Daily newspaper
should be reviewed on a regula:
basis (such as the first week of
every month). The conclusions
reached from the process ex-
plained below will depend upon
the contents of that table cross-
pollinated with knowledge of

(continued on page 66)

ircular Definition of Excellence

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MET ada: ui

Р/А PRACTICE

Economics (continued from page 64)
your region’s economy, the
thrust of your firm’s marketing
efforts, and so on.

First—Check off those groups
(from almost 200 in the table)
that start with the words “build-
ing,” “construction,” or “real

estate,” and then circle the entry

for Standard & Poor’s stock
index or “S&P 500.”

Second—Note the number of
the three architecture-related
groups that are positioned
higher than—as well as how
many are below—the S&P 500
index in the table.

Third—In a different color,
tick off the position of the client
groups that are particularly rele-

vant to your practice (e.g., Hotels
& Motels, Hospitals).

The conclusions to draw from
the above procedure based upon
that March 30, 1988 issue were:
e The overall list is pointing
toward a coming economic slow-
down—roughly nine months
out (this is how far ahead the
headlights of the financial mar-
kets can "see")—but construc-
tion will be one of the last areas
to turn down.
€ Any future economic weak-
ness within the building/con-
struction/real estate-related seg-
ments of our economy will be
concentrated in both prefab and
site-built housing, plus commer-
cial construction.

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Progressive Architecture 6:88

€ Foreign auto manufacturers
and cable TV head up the list of
potential design/construction
clients that are showing the most
strength, while nursing homes
and all projects involving ro-
botics are currently the most
anemic area.
€ The weakness within the util-
ity group (which tends to be a
bellwether) takes into account
one or more of the following: 1)
a decreased demand for energy
in the United States in 1989, 2)
higher interest rates next year,
or 3) the coming trend toward
independent power production.
The table also showed that,

just as retail stocks turned down

last summer prior to the decline

Circle No. 347 on Reader Service Card

all THE DAYLIGHTING EXPERIENCE!

in the consumer spending binge,
technology stocks today are
weakening, perhaps in response
to a coming downturn in capital
spending.

Market comparisons also tell
us what's ahead for international
business: Here the strength lies
in the Asiatic countries (exclud-
ing Singapore) and Canada,
while the weakest financial mar-
kets are concentrated in Europe.

The foresight provided by
such a fine-grained view of
where money is flowing within
both our economy and the world
will become invaluable whenever
recession arrives . . . for it will
help the design profession to
target an increasingly rare com-
modity: Clients who have pre-
served their financial health.
William Voelker, AIA a

The author, an Associate Professor at the
School of Architecture, University of
Illinois in Champaign/Urbana, holds
M.Arch and MBA degrees.

Law (continued from page 63)

New York faced this very ques-
tion in connection with a 3 1-story
office building constructed in an
area with a zoning limitation of
19 stories. (Matter of Parkview
Associates у. City of New York).

A portion of the owners’ prop-
erty, located on Park Avenue
and 96th Street in New York, is
in a special Park Department
district that, under a zoning reso-
lution adopted in 1973, limited
the height of buildings to 19
stories if the setback was less
than 150 feet and 31 stories if
more than 150 feet. In 1983, the
city modified certain boundary
lines of the special district to
reduce the required setback for
31-story buildings from 150 feet
to 100 feet, but the owners’ prop-
erty was in an area unaffected by
the amendment. However, the
zoning map accompanying the
1983 resolution showed the
owners’ property within the
amended area. The architects,
relying upon the map, designed
the 31-story building with a 100-
foot setback.

Having applied for a building
permit in 1985 that was ap-
proved by the Building Depart-
ment as conforming with all zon-
ing requirements, the owners
proceeded to construct the
building. In 1986, after substan-
tial construction, the Building
Department stopped the work.
After review, the Commissioner
of Buildings partially revoked
the building permit on the
ground that the permit was in-
valid when issued and directed
the owners to remove the top 12
stories of the building. This deci-
sion was appealed to the Board
(continued on page 68)

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Progressive Architecture 6:88

FA PRACTICE

Law (continued from page 66)

of Standards and Appeals and
was sustained. The Board found
that the original zoning resolu-

PA PRACTICE

Specifications (continued from page 68)
Single subcontract responsibil-
ity for certain related portions of
the work is one answer. By re-
quiring the contractor to com-
bine several typical subcontracts
in a single subcontract, another
level of coordination and re-
sponsibility is introduced. One
subcontractor becomes responsi-
ble for the work of several trades.
The choice of which trade takes
the lead is usually left to the con-
tractor to decide. Implementa-
tion in the contract documents is
simple, requiring only a clear
delineation of the related work
in appropriate specification sec-
tions and a statement similar to
the following in Section 01010

Progressive Architecture 6:88

hand, contended that the deci-
sion of the Board to revoke the
building permit partially had a
rational basis because the build-

Summary of Work:

“The curtain wall work, as
specified in the following sec-
tions, shall be awarded as a single
subcontract. Separate subcon-
tracts for portions of the curtain
wall work will not be permitted.”

Perhaps the most common
application of single subcontract
responsibility is for curtain wall
construction, where the goal is
successful performance of an
assembly that is fabricated and
installed by several trades. Di-
verse components, such as metal
framing members, insulated
panels, glass, stone, and sealants,
must be designed, fabricated,
and installed to meet specified
performance criteria. Thus, a

cable provisions of law and that
the Commissioner may revoke a
permit that has been issued in
error. Discrepancies between

coordinated testing program for

mockups and installed as-
semblies is specified in a single
section and cross-referenced
elsewhere. A single subcontrac-
tor is given responsibility for
meeting the performance stand-
ards, and a single warranty for
the work should be signed jointly
by the contractor and the sub-
contractor.

A second application is for
control of finishes on otherwise
unrelated components, such as
the metal elements of a building
lobby. Revolving doors, pivoted
doors and frames, glass framing
members, signs, hardware—
each is usually fabricated by a
separate subcontractor. When

ater?

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DRY-BLOCH* integral

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Circle No. 336 on Reader Service Card

specifications, producers
and applications in
s your area.

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414/354-4400

INDUSTRIES

the map and in the mistaken
administrative issuance of the
original permit, "those factors
would be completely outweighed

finishes are subject to variation
in color, sheen, or texture (and
when are they not?), the results
are sometimes distressing.
"Brass" can range from yellow to
bronze, directional brushed
finishes can be installed in every
orientation, and coatings can
look like pages from a color
selector book. In this case, single
subcontract responsibility will
ensure concurrent submittal of
all finish samples, a good possi-
bility of getting the same coating
manufacturer and applicator
for all components, and a single
subcontractor to correct unac-
ceptable finishes in the field.
Uniform specifications for finish
samples (finish designation,
alloy, size, etc.) will also support
the emphasis on coordination of
the final products.

A third application of single
subcontract responsibility is for
final coordination of equipment
components that are not selected
until after award of the work.
'The many elements of a con-
cierge or security desk come to
mind—directory, communica-
tion equipment, elevator con-
trols, and fire and security sys-
tem displays. The exact size and
shape of such elements vary
from one manufacturer to an-
other and are not fixed until the
products to be installed have
been accepted for the work. By
specifying coordination of the
desk design (at least the display
panel portion), fabrication, and
component installation under a
single subcontract, potential
problems are averted.

When specifying single sub-
contract responsibility on a proj-
ect, it is equally important to
reinforce some of the normal
quality control requirements,
such as requiring the subcontrac-
tor to name a person who will be
responsible for coordination of
the work. At a joint post-award
meeting, potential coordination
problems should be discussed
with the involved subcontractor.
The specifications should call
for coordination of shop draw-
ings and product data submittals
first by the subcontractor, then
by the contractor. The contrac-
tor, subcontractor, and involved
suppliers should sign off on
coordinated submittals before
they ever reach the architect.
Incomplete submittals should be
rejected. The subcontractor
should submit, through the con-
tractor, a schedule for delivery
and installation of the related
components.

William Lohmann, AIA, FCSI "

The author is Specifications Manager at
Murphy/Jahn in Chicago.

BIG ENOUGH
TO HANDLE
BIG BUSINESS
SMALLEST

When it comes to handling
the computer needs of big
businesses, no one fills the
bill like ComputerLand*
We're the oldest chain of
computer retail specialists in
the world. With
more than
eleven years of
experience
‚ working with
businesses of
all sizes.
During
those years, we've sold well
over a million name brand
computer systems. Far more
than any other computer
specialty store network.
Our sales in 1987 alone
were nearly $2 billion.
ComputerLand is also
the largest retailer in the
industry. With 500 stores
in the U.S.—part of nearly
800 worldwide. (No one else
comes close here either.)
But you're
probably con-
cerned less
about what
we've done
than what we
can do...for Ж)
you. And there's FE
a great deal. >

Every ComputerLand
store (including the one near-
est you) is tied into a
well-oiled international
network of unsurpassed
computer resources.

We offer
a complete
selection of
computer prod-
ucts from major
manufacturers
throughout
the world.
Not just one
or two. That
includes
computers,
printers, soft-
ware and peripherals. So we--
and you- have real choices.

We also do our best to
make it easy for you to buy
computer equipment and keep
it up and running.

To begin with, a
ComputerLand representa-
tive will come to your
у Pat of business to talk.

But we don't just talk.
CA deliver. To get products
eA ana parts to you A.S.A.P,
ComputerLand has four stra-
tegically placed national
distribution centers. Including

one just five miles
from Federal Express
headquarters in
Memphis.

Our network
provides training
to get your staff up to

speed quickly. Which

we've done successfully
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to Fortune 500
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Each of our

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We can even arrange to
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The one thing to know about computers?

Progressive Architecture 6:88 71

TRUSSWALL

T НЕЗ 3° Ae F
THINGS o С М E

Trusswall from Кауупеег intro- But While the design options

duces the rounded look to the offer flexibility the integrity of the
high span entrance. Trusswall structure remains inflexible. A
spans the clear story entrance thermal break, and the flexibility
area with the structural strength of either V4" or 1’ glass attest to
and the desirable aesthetic Trusswall being ready and willing
appeal of the rounded mullion. to take on nature's harshest
Formed by circular extruded alu- elements.

minum chords connected by a Trusswall. Further evidence

of Kawneer's commitment to

separating web tha addc Re
| space.

strength, and variety, Trusswall
becomes a real design

alternative.
There are two sides to Kawneer
every story.

On the outside, Trusswall THE DESIGNER'S ELEMENT.
presents a number of faces. One

is the innovative circular cover for $
the sculpted look. Another is the
more austere approach, silicone
glazing, for an uninterrupted line.
And the rectangular cover pre- =
sents a third more traditional light.
On the inside, Trusswall offers a customization lim-
ited only to the imagination. The two-piece construction
allows the exterior finish to mix or mate with the building
exterior while the interior chords can complement the
interior attitudes. The color palette of Fluropon® irene
even more design alternatives. »
With four web options to choose from, design —
flexibility increases. The choices are offered. ;

The choices are yours.

For product 3 on Trusswall contact:
Kawneer Company, Inc. Department C
Technology ац ка 555 Guthridge Court Norcross, GA 30092

Circle Мо. 344 on Reader Service Card

GE IS THE LIGHT THAT
WILL RESHAPE ТНЕ WA

It won't take you long to discover that with
GE ВІАХ " 40-watt lamps, the design possibili:
ties are endless.
Because they're only 22.5 inches long, yet
deliver all the light of standard four-foot fluo-
= rescents, you can design with smaller fixtures.
GE BIAX lamps And that means more attractive ceilings.
make everybody and everything, And because BIAX lamps make colors look
including operating costs, look better. „ richer and more vibrant than standard fluore:

San

C-809

(OU DESIGN LIGHTING.

cents can, the lighting you design will make the sibilities of the GE BIAX family of lamps.

environment and the people who work in it For more product or application informa-

more attractive. tion, call your local GE Lighting Specialist.
Equally attractive is the amount your clients Or call the GE Lighting Information Center

will save on operating costs. GE BIAX 40-watt at 1-216-266-3900.

lamps, you see, last up to 8,000 hours longer GE is Light.

than conventional U-shaped tubes. And 13
times longer than incandescents.
Feast your imagination on the endless pos-

GE Lighting

Circle No. 337

Selecting a CCTV security
system can be difficult, even
a frustrating experience.

One company offers video
cameras and monitors. À
different company makes
VCRs. And the controls,
enclosures, and pan-and-tilt
drives must be obtained from
yet another source.

This often means d aling with
lots of different people to get
what's needed, check up on
delivery, or obtain service.

anta, Georgia

Australia Canada

W 3 : E
orst of all, no single sup-
plier will guarantee the
quality of the completed
system (performance or ap-
pearance) after it's all put
together and installed.

But now these uncertanties
are past history. Vicon

has simplified the whole
unpredictable process.

Hong kong

) ›
~
2 Way Singapore West Germany
Circle No. 377 on Reader SA cu

We design and manufacture
everything that's needed for
a complete security system.
And, we guarantee product
compatibility—technically
and aesthetically.

Call or write for the name of
your Authorized Vicon Dealer
Vicon Industries Ine.

925 Broad Hollow Road
Melville, New York 11747-3007
800-645-9116 (in New York
916-293-2200).

Vicon. The Single
Source for the
Full System.

ONLY SENERGY OFFERS THIS.

When you build or remodel exterior walls, you want dura-
bility. Reliability. No maintenance. Quick installation. Value.
Many companies offer energy-saving exterior insula-
tion and finish systems. But it takes more than material.
It takes experience. Training. Technical service.
Commitment.
Only Senergy offers both SENERFLEX™ (polymer
base) and SENERTHIK™ (polymer modified) systems.

Only Senergy combines both systems on the same project.
Only Senergy offers an unlimited array of colors at no addi-
tional charge. Only Senergy offers a five-year labor and
material warranty. Only Senergy offers the ability to see
things differently.

Contact Bob Olson, Vice President, Senergy, Inc.,
1367 Elmwood Avenue, Cranston, — , —
RI C2910, or call 1-800-221-WALL. eima DL awc

SENERGY

Circle No. 369 on Reader Service Card

Progressive Architecture 6:88 77

The new surface
anodized cant match.

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Flurodize® Coil. anodized.
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Commcoat looks a lot like anodized aluminum. Only better. To get your hands on some, call any of these distributors:
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For a price no higher than Inc. Laminated panels are produced
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Commcoat is a trademark of Commonwealth Aluminum Corp. Flurodize is a registered trademark of DeSoto, Inc.

78 Progressive Architecture 6:88 Circle No. 320 on Reader Service Card

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Circle No. 349 on Reader Service Card

lable from Lee Jofa

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Progressive Architecture 6:88

Color your vision
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1 | LOFTS
er т Owens
: Al Ford

А member of the Pilkington Group

Product Description

ECLIPSE? reflective glass is a
pyrolytically coated reflective
glass product of the Libbey-
Owens-Ford Co. It is manufac-
tured using a chemical vapor
deposition process in which a
gas reacts with the semi-molten
surface of a ribbon of float glass
to form the reflective coating.

Features / Benefits

Fabrication/Installation Ease
Unlike many competitive prod-
ucts, ECLIPSE reflective glass is
post temperable. The durability
of the pyrolytic coating is such
that ECLIPSE reflective glass can
be handled, cut, insulated and
tempered or heat-strengthened
like ordinary annealed glass.

It can be glazed with either
surface to the exterior in both
monolithic and insulated glass
applications and is compatible
with most commercially available
glazing sealants. This added
product flexibility can greatly
reduce the need for costly special
handling, fabrication and
installation procedures.

Superior Performance ECLIPSE
reflective glass offers an exclusive
combination of crisp reflectance
and good daylight transmission
which results in a uniquely low
absorption characteristic which
eliminates the need for heat
treating in most vision applica-
tions. In addition, the coating

is extremely uniform and effec-
tively blocks the sun's damaging
ultraviolet rays.

Distinctive Appearance
Whether the coated surface is
glazed to the interior or exterior,
ECLIPSE reflective glass has a
unique, striking appearance
which provides building
designers with an exciting new
visual tool.

Excellent Availability The
on-line pyrolytic coating process
gives ECLIPSE reflective glass
ready availability which can sig-
nificantly reduce lead times,
helping control project costs.

Product Characteristics

Heat Treatable ECLIPSE
reflective glass can be heat-
strengthened, tempered or bent.
As with any pyrolytic reflective
glass, maximum temperature
limits must be observed.

Interior or Exterior Glazing
Because of its exceptional coating
durability, ECLIPSE reflective
glass' coated side can be used in
first or second surface applica-
tions in single glazing or on any
of the four surfaces of an insu-
lated glass unit. As in any first
surface installation, a review
should be made of potential
problems caused by surrounding
materials, such as stains from
weathering steel or concrete.

Compatible With Most Sealants
ECLIPSE reflective glass is com-
patible with most construction
silicones and the sealants com-
monly used in the manufacture
of insulating glass units. Specific
compatibility questions should
be directed to the sealant
manufacturer.

Low Heat Absorption
Characteristics ECLIPSE reflec-
tive glass offers a unique combi-
nation of high solar reflectance,
good daylight transmission and
resultant low heat absorption.
This allows it to be used with-
out heat-treating in most vision
applications. Heat treatment is
required in instances where
strength, safety or thermal
stress are of concern.

Significantly Reduces UV
Transmission Over 90% of

the sun's damaging ultraviolet
radiation is blocked by the
ECLIPSE coating. This sub-
stantially limits problems of
color fading and the breakdown
of plastics. At the same time,
ECLIPSE reflective glass will not
adversely affect plant growth.

Resists Surface Damage The
ECLIPSE coating is extremely
durable. Handling, fabricating,
packaging and installation rubs
and scratches are minimized.

Distinctive Appearance With
the coating glazed first surface,
ECLIPSE reflective glass has a
distinct, crisp appearance and a
higher reflectivity. In second-,
third- or fourth-surface use, the
colors are deep and rich, with a
subtle reflectivity. Viewed from
the interior, ECLIPSE reflective
glass transmits light with a defi-
nite warm color cast.

A Choice of Colors ECLIPSE
reflective glass is available in four
dramatic colors: blue-green,
bronze, grey, and with the coating
glazed first surface, a distinctive
silver—regardless of substrate
color.

Extremely Uniform Coating
The ECLIPSE manufacturing
process affords exceptional run-
to-run consistency. This results
in excellent performance and
color uniformity—both in new
construction and replacement
applications.

Cleaning, Maintenance
& Heat Treating

Complete, step-by-step guide-
lines in each of these areas are
available from LOF and may be
obtained by contacting your
local representative.

Performance Data

Exterior
Appearance

Bright Silver

Nominal Coated
Thickness | Surface

6mm

Bright Silver | 24mm *

Exterior
Appearance

Bright Silver
Bright Silver

insulating
1”

Nominal Coated
Thickness | Surface

6mm

| a |
—
'

a]
ший

24mm
insulating
1”

Nominal
Thickness

6mm
monolithic
4 *

Ultra? | Daylight
Violet Exterior

NN
les
EN

Winter Shading Coefficient?
No Shade

Ultra? | Daylight
Violet | Exterior

Shading Coefficient?
No Shade

1% | Епр. |
11

|
|

Shading Coefficient?

Winter
No Shade

| Eng. |SI | 51 | Europe |
— U
т» [sa [aso е

insulatin

1. Nominal values shown. Tolerance +3.

2. The UV Solar Transmissions are based on the standard intensity versus wavelength for the sun's radiation when the sun is at 60° zenith angle and

measured at normal incidence to the glass surface.

3. Winter U-values are based on an outdoor temperature of —18°С (0°F), an indoor temperature of 21°C (70°F), and a 24 kph (15 mph) wind velocity with
no sun. Summer U-values and shading coefficients are based on an outdoor temperature of 32°C (90°F), an indoor temperature of 24°C (75°F), a solar
intensity of 789 W/m? (250 Btu/hr. xft?), and a 12 kph (7.5 mph) wind velocity. Eng.“ units are Btu (hr. x ft? x °F). SI“ units are W/m?K.

4. 24mm (1”) insulating glass constructed of 6mm () glass outboard, 12mm ('2") airspace, and 6mm (М ”) clear glass inboard.

куе E RE S
Cover photo:
A.B. Warren Development
Building
Tucson, Arizona
ECLIPSE® Bronze #1 Surface

1 Christofer Oaks, Phase II
Sacramento, California
ECLIPSE® Blue-Green
#2 Surface
Bent Glass Application

2. Rainbow Health Center
Miami, Florida
ECLIPSE® Grey #1 Surface

3. San Ramon Recovery Center
San Ramon, California
ECLIPSE® Bronze #2 Surface

4. Quadrant Corporate Center
Bothell, Washington
ECLIPSE® Grey #2 Surface

5. SeaGate Centre
Toledo, Ohio
ECLIPSE® Grey #1 Surface
ECLIPSE® Grey #2 Surface

6. Arapaho Office Building
Richardson, Texas
ECLIPSE® Grey #2 Surface

ECLIPSE

Reflective Glass

Libbey
Owens
Ford

A member of the Pilkington Group

811 Madison Ave.
P.O. Box 799
Toledo, Ohio 43695

Telex: 28-6437 or 196704
Telefax: 419-247-4573

ERG-E 1-6/87 ,
© Copyright 1987 Libbey-Owens-Ford Co

Printed in U.S.A. pe

Progressive Architecture

Authentic
Modernity

епїогу

Night view of Botta’s Malraux Cultural Center in Chambéry.

“THE best way to respect the past is to be authen-
tically modern. The rich history of the city is a
result of successive stratifications,” declares Mario
Botta. The 45-year-old architect from the Swiss
canton of Ticino believes that technical and func-
tional progress has too often demanded a sacrifice
of the memory and history of the city. Yet he also
argues against the slavish restoration of monu-
ments that “mummify” the city. And he claims that
“historical buildings should die a natural death,”
unless their space can be shaped to the changing
need of the inhabitants. One such living monu-
ment, cited by Botta in defense of his thesis, is the
Roman Pantheon, which was built as a temple of
the gods and subsequently utilized as a church and
marketplace.

This spirit of strengthening and rejuvenating
urban history carried the day in the 1982 competi-
tion to design the André Malraux Cultural Center
in Chambéry-le-Bas, France. Following an open
call for entries, the city named three finalists: Botta
and the French architects Henri Gaudin and Favre
& Perrottet. Botta won with a design that incorpo-
rates the east wing of the adjacent Gendarmerie,

(continued on page 90)

Progressive Architecture 6:88

André Malraux Cultural Center
Chambéry-le-Bas, France

Overviews of Malraux Cul-
tural Center (above and right)
show the relationship of
Botta's new theater to the
adjacent Gendarmerie, a
19th-Century structure whose
east wing has been restored
to house the theater lobby, an
art gallery, rehearsal rooms,
and offices. Other military
buildings surrounding the
former barracks were de-
stroyed as part of a com-
prehensive urban renewal
plan. A residential develop-

Progressive Architecture 6:88

ment designed for the site by
Henri Ciriani has not gone
ahead. As a result, the Botta
theater stands in an open but
unfinished plaza. The theater
itself is composed of two con-
trasting volumes—a half-cyl-
inder housing orchestra seat-
ing and a massive block that
contains the stage and
flytower (above). Smaller
wings housing dressing
rooms flank the flytower
(right, foreground and top).

2 NT
UPS У)

outurier

Stephane €

Progressive Architecture 6:88 83

Malraux Center

84 Progressive Architecture 6:88

A dramatic emergency exit
stair (top) shapes the plaza
between the theater and the
former barracks (above).
Theatergoers enter the cul-
tural center through the bar-
racks courtyard and its east
wing, passing to the theater
through a glazed bridge (fac-
ing page, right). The striated
stone and concrete facade is
cut with a jagged edge to re-
veal the interior stairs and
glazed foyers, which wrap
around the ground-floor
cinema and theater seating
one flight up.

Progressive Architecture 6:88 85

Progressive Architecture 6:88 87

Malraux Center

Bet Se RE pm

88 Progressive Architecture 6:88

Horizontal and vertical circu-
lation wraps around the
cinema and theater seating. A
generous ground-floor am-
bulatory (facing page) and
wide stairs that provide ac-
cess to the theater at the sec-
ond and third floors (top right)
show Botta’s command of
daylighting. The striped ex-
terior fagades are echoed in
the public foyer (top left) and
within the theater itself (bot-
tom, left and right) in alternat-
ing gray and yellow bands of
stone and wood.

Los, STE

Progressive Architecture 6:88 89

Malraux Center

(continued from page 81)
or former military barracks, which dates from the
Napoleonic era.

The Malraux Center was intended by the city to
be the centerpiece of a renewed cultural and resi-
dential district, located just outside the medieval
center of the city. Other military buildings in the
area deemed by the city to be of no historic value
were demolished to make way for new construc-
tion. The only new projects completed to date,
however, are Botta’s theater and the complete ren-
ovation of the Gendarmerie by French architect
Jean Patrick Fortier. A major residential complex,
designed by architect Henri Ciriani for a site across
the square from Botta’s theater, has not yet gone
into construction, and the fate of other ambitious
plans for the area remains uncertain.

In Botta’s design, the wide interior courtyard of
the Gendarmerie now serves as an open foyer used
by the public attending theater performances,
while the east wing houses the entrance lobby, an
art gallery, a library, and offices. Theatergoers pass
from the old to the new building by a stacked,
glazed bridge which offers a view of the surround-
ing urban area.

The 950-seat theater and the cinema below it
occupy a striking half-cylinder, while the stage and
fly tower, rehearsal and dressing rooms fill an im-
posing block that towers over the half-cylinder and
three-story barracks. Botta’s paired volumes face
one another like two compact bodies, distinguished
on one side by the theater’s emergency stair, which
departs dramatically from the northeast edge of the
cylinder, defining a secluded plaza between the
barracks and theater. Although Botta had origi-
nally positioned the theater perpendicular to the
Gendarmerie, it was later shifted to align with the
existing grid of the city.

The theater's dramatic striations of concrete and
limestone recall the Romanesque churches that
served as Botta’s inspiration. The heavy walls have
no conventional windows but instead are pierced
by narrow slits that recall medieval fortresses, or
eroded with a wide, irregular tear that reveals a
concrete and glass façade.

These openings—together with the use of pri-
mary volumes each of which serves a distinct func-
tion, and the striated or gridded compositions of
stone, concrete, and glass—all are characteristics
of Botta’s work. The contrast of full and empty
spaces, and the sharp differentiation of light and
shadow reveal the architect’s assimilated heritage
of Classical architecture and Modernism.

Described variously by critics as “an oasis” and
“a Japanese wrestler, crouching before springing
forward,” Botta’s theater stands out as a strong
formal presence in the quiet town of Chambéry,
below the French Alps. The classic Gendarmerie,
its roof cut by dormers, bears no apparent connec-
tion to the new house of culture beside it. Yet this
19th-Century building and the adjacent monu-
ment of the 1980s match with a sort of subtle, in-
explicable complicity.

New and old coexist harmoniously, despite a nat-
ural dialectic tension. As Botta himself points out,
“This intervention consolidates the old military
barracks. It is the detached object, the building on
the edge of the city limits that establishes a dialogue
with the compact medieval center. In my view, the
consequent contrast emphasizes the fixed assets of
two worlds, the old and the new.”

Donatella Smetana L|

90 Progressive Architecture 6:88

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The dressing room wing
(above, foreground) is
pierced by thin, slit windows
that recall those of medieval
fortresses, while the banded
façades echo Romanesque
churches, cited by Botta as a
major influence on his design.

Project: André Malraux Cultural
Center, Chambéry, France.
Architect: Mario Botta, Lugano,
Switzerland (Urs Kulling, Mischa
Groh, design team).

Client: City of Chambéry.

Site: adjacent to historic center of
Chambéry on location of former
military buildings dating from
Napoleonic era.

Program: 82,000-sq-ft theater com-
plex that incorporates a restored
19th-Century barracks which houses
administrative offices and the lobby.
Structural system: reinforced
concrete.

Major materials: reinforced con-
crete, limestone.

Cost: withheld.

Photos: Pino Musi, Altair Studio,
except as noted.

Stephane Couturier

Corporate Clients

are no longer
petition has be
companion.
‘These events have left their stamp on corporate
architecture. Fee competition and fast-track
schedules have become common for outside firms,
while cost control and quick response have become
facts of life for in-house design staffs. Meanwhile,
new demands have been placed upon the architec-
ture itself. A lot of attention, for example, is now
focused on how facilities can enhance or diminish
worker productivity or a corporation’s image.
Perhaps the most significant change in corporate
architecture over the last decade has been the rise
of facilities management as an established activity
within companies and a respected—and increas-
ingly common—occupation for architects and
gne ago, the AIA was dis-
mberships; now,

Corporate Clients
Prudential

The Corporate Developer

92 Progressive Architecture 6:88

SAFE, secure, rock solid—the qualities that Pru-
dential promotes in its insurance seem to pervade
its corporate architecture as well. “We look for well-
rounded, service-oriented firms,” says Bruce Long
of Prudential’s Realty Group, the development
arm of the company. “When we have gone with
high-profile firms,” he adds, “it has usually been
in joint ventures, where the architects were already
on board.” The same seems to hold true for the
architecture Prudential commissions for its own
use. “We are not looking for firms that are all show
and no go,” says James O'Hara of Prudential’s Cor-
porate Services and Buildings Department
(CSBD). *We look for firms that have solid experi-
ence in areas such as space planning."

If Prudential doesn't see itself as a design leader,
it is a leader in the sheer volume of architecture
and interior design that it commissions. "We are
one of the largest real estate developers in the
country," notes Long. (A 1987 Building Design ©
Construction survey listed Prudential as the fifth
largest diversified developer in the country, with
$850 million of construction in place.) And, with
85,000 employees occupying almost 12 million
square feet of office space, The Prudential Insur-
ance Company of America is itself a major corpo-
rate client. "We have 2.5 million square feet of
office space to complete in just the next 24
months," says Kenneth Wood of the CSBD.

Corporate Life

Almost 50 percent of the design work on Pruden-
tial’s own facilities is done in-house, by a staff of
over 50 designers in the company's Newark, New
Jersey, headquarters and by two or three designers

in each of the company’s satellite facilities. Slightly
more than half of the Newark staff consists of in-
terior designers, with the remainder being archi-
tects and engineers representing most of the en-
gineering disciplines.

'The department looks and acts very much like
an outside design firm. "We do everything from
programming to contract administration," says
Wood. Also like many outside firms, the facilities
staff is oriented to do a certain size project. "If a
project is less than about 30,000 square feet," says
O'Hara, "we farm it out to the satellite offices.
Below about 10,000 square feet, we won't touch
it.” “The only thing that we don't have to do is
market our services," says Wood. "In a corporation
this large, the work is self-generating."

Prudential's Realty Group is much different in
size and function. It has 17 architects and en-
gineers in the company's headquarters and four
regional offices. They help select outside firms,
monitor the company's development projects, and
supervise the maintenance of the company's exist-
ing real estate portfolio. The staff also inspects
properties that Prudential is acquiring, selling, or
mortgaging.

Getting and keeping staff does not seem to be a
problem for either department. "We don't have
much trouble attracting people," says Wood. "Most
outside firms don't pay their people as well and
they don't have as good a benefit package." Corpo-
rations like Prudential also offer a degree of job
security that many designers do not have in outside
firms. "We try to keep a steady core of staff people
and farm out work to outside firms when we get
too busy," says O'Hara.

> жр” APRS! 2

The trade-off seems to be mostly in the area of

flexibility and career advancement. “When you
work for a corporation, you have to play by the
corporate rules,” says Richard Norkaitis of CSBD.
“Also, Prudential is not in the building business.
The architects here provide a technical service and
there is only so far that they are going to rise in
an insurance company.”

The Pace of Work

If there are any trends at Prudential’s CSBD, they
are the increasing amount of interior design work
that is done in-house and the increasing speed with
which that work must be done. “In the last several
years,” says Wood, “the work load has become
greater and the schedules, shorter. The competi-
tiveness of the financial services industry is the
main reason for the increased pace.” Outside firms
that work for Prudential find the same rapid pace.
“All of the Prudential work that we've done over
the last ten years,” says Howard Grad of The Grad
Partnership, “has been fast-tracked.”

Adding to the increased pace of the work has
been Prudential’s recent move to break its opera-
tions down into a number of business units, each
of which is responsible for its own bottom line.
That has led to some unusual financial arrange-
ments, with some business units charging others
for space or equipment. It also has varied the com-
pany’s facilities requirements. “On one hand, Pru-
dential is our sole client,” says O'Hara. “On the
other, we have 50 clients because the individual
business units have different needs. Some want
mainly open offices; others, private offices. Some
want a banking house ambience; others not. What-

ever they want,” he adds, “the business units each
have to pay for and justify their tenant fit-up.”
The move to business units also is one of the
reasons why more of the interior design work is
done in-house. “We often have a better under-
standing of how the business units work,” says
Wood, “and are able to challenge users in the com-
pany more effectively. Outside firms tend to be
more polite for fear of offending somebody.”

Working with Firms

The trend toward more in-house responsibility has
had little effect on Prudential’s architectural and
development work. “We still farm out most of our

A/E work,” says O’Hara, “although the amount of

that has decreased as we have used more leased
space.” The CSBD doesn’t like to mix respon-
sibiities, with the in-house staff doing the interiors
for a building being designed by an outside firm.
“But, we typically farm out the architectural and
interiors work to different firms,” says O'Hara.
“We find that it leads to better results.”

What Prudential looks for in firms and how it
selects them varies with the situation. “Our field
people often make a list of firms located near a
project,” says Long, “although we don’t necessarily
only go with local firms. It depends upon the size
and visibility of a project. Sometimes we'll use a
high-profile firm for the design and a local firm
for production. If the project requires specialized
knowledge about a particular type of building, we'll
look for firms with that experience. We also like
to go to firms we've used before and have liked."

"When interviewing firms," adds Norkaitis, "we
look at the project team—its ability, experience,

Orto Baitz

The Office Center at Short Hills in

Short Hills, New Jersey (above),

was designed by The Grad Partner-
ship and developed by Prudential's
Realty Group. The project contains
an office buil g (above left) and a
Hilton hotel (above right) that face a

a and below grade parking

cture. The site is adjacent to a
highway and shopping mall and

backs up to protected open space.
The architects have broken down

the apparent scale of the two build-

figures"

' of reflective

glass. Prudential gave the architects

considerable design freedom, al-
though the company was closely
involved in the building and site
layouts and in the choice of mate-
rials and paid a lot of attention to
details, such as the roofs and the fire

and life safety systems.

Progressive Architecture 6:88

Corporate Clients
Prudential

чэ ү The architects used geometric
forms to demarcate the entrances of

the office building and hotel (above
left). The office building is entered

€ fce , N through a brick portal set in a glass
| LOUNGE a ЛУ, RESTAURANT 1579 [RAKING DECK drum, while the hotel is entered
{ ELEVATOR LOBBY 7 : Sume E | through а cross-gabled porte

— TES LDE SHEHE cochère, which is echoed in the

Pr ПЕ; 1 Б те de"! | gabled brick facade. The office
OUNG * t? F а 3 a m z " H Р
L LOUNGE GT GOTE LOBBY ЕЕЕ RESTAURANT CRE i atrium (above) shows the high qual-
E rd m. MN [5 І jū L. 1 a» | ji TE o Ls 85 ity materials and expansiveness of
—— 4 д 1 “ha dl ص — عمو و‎ -— ogee space that Prudential uses to attract
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| i €i Kh { SITE PLAN NT H —23À 3007100m the “high end market.” The site
ЖИЕ. (3 b PORTE COCHERE Cy ES k > Я plan (left) indicates how the two
aas AU = byl ko) kv FQ buildings define a central plaza, yet
PLAZA LEVEL FLOOR PLAN are distinguished by having offset

entrances. Their first-floor plans
(far left) show how the buildings
also differ in their spatial organiza-

—

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r 4 sx 1 tion, with the hotel having a main

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І ELEVATOR СОВЕ STAIR TO GARAGE í ELEVATOR CORE : | to its back side and the office having
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=I YFFICE OFFICE i incorporate the atrium.

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94 Progressive Architecture 6:88

Photos: Otto Baitz

and chemistry.” The trend among some согрога-
tions to choose firms solely on the basis of fees is
not an issue at Prudential. “We ask firms for their
fee,” says Long, “but that is rarely a deciding factor.
We find that most firms qualified to do a job have
competitive fees.”

What is becoming a factor in its decisions,
though, is a firm’s use of computers. “As we build
our computer database here,” says Wood, “we will
be looking to firms to turn over their documents
in electronic form. Compatibility with our com-
puter system is becoming important; fortunately
compatibility among systems is also becoming
easier to achieve.”

If Prudential’s people see weaknesses among
outside firms, it is in the areas of business savvy
and documentation. “Firms’ contract documents
are generally inadequate,” says Long. “Detailing is
often sketchy and follow-through in the field is
poor.” Long admits that the fast-tracking of proj-
ects may contribute to this. Still, “we trust the archi-
tects to complete the documents,” he says, “even
though we usually work from a guaranteed maxi-
mum price based on 75 percent completion of the
drawings.”

Long also thinks too few architects are sympa-
thetic to development constraints. “We look for
architects with a developer’s philosophy, architects
who can build to the budget and who can design
to our financial parameters,” says Long. “A key
issue in any job is controlling the architects and
cutting them off when they go over budget or off
schedule.”

In many ways, Prudential is a very tough client.
“Our charge,” says Long, “is to use Prudential’s

AN `

LJ
E

funds wisely, so we are very careful and follow
projects closely." But tough clients can also be good
clients if, as in Prudential's case, their concern leads
to better quality buildings. “Prudential’s standards
are higher than most developers," says Howard
Horii of The Grad Partnership. "In some areas,
such as life safety and detailing, they are much
higher." Prudential may not be a design leader
among corporate clients. But, in terms of the per-
formance of the buildings that it both develops and
occupies, the company is a regular Rock of Gibral-
tar. Thomas Fisher п

Photos: Otto Baitz

Prudential uses a variety of archi-

tectural firms for both its «

ings and those that it dev
Roseland III in Roseland, New

Jersey (above left)

have 350,000 square feet arranged

in arms that embrace outdoor urt-

yards and that abut a multistory

ium. Its cladding will of

consist

precast concrete with granite trim

wo colors of glazing. Enerplex

in Princeton, New Jersey (above

right; see also P/A, Aug. 1984, pp.
82—89), consists of a pair of build-
ed by Alan Chimacoff

ings desig

and Ski

nore, Owings & Merrill

ntial’s Realty Group. The

in ice pon lighted

and various passive
and it shows P

experimental.

Progressive Architecture 6:88 95

Corporate Clients
Marriott

10,000 Hotel Rooms

a Year

Continuing its
expansion at
breakneck speed,
Marriott maintains a
staff of a thousand
just to oversee the
design and
construction work
outsiders do for it.

96 Progressive Architecture 6:88

WHEN it comes to creating an international do-
main of lodging and restaurant facilities, nobody
does it bigger than the Marriott Corporation,
which last year erected $1.1 billion in new hotel
and motel construction alone.

What began as an unassuming root beer stand
opened in 1927 by J. Willard Marriott has blos-
somed into a conglomerate of nearly 200 full-serv-
ice hotels, more than 180 moderately priced inns,
500-plus Roy Rogers Restaurants, over 200 Big
Boy restaurants, and another 100 eateries along
America's highways. The company now has more
than 200,000 employees, making it one of the ten
largest employers in the country and ranking it as
the largest private employer in the Washington,
D.C., area.

As if that weren't enough to keep any self-re-
specting company on its toes, Marriott continues
its pace of adding roughly $1 billion in new con-
struction to its inventory each year. Charged with
overseeing its ever-expanding stable of buildings
is the corporation's Architecture and Construction
(A&C) Division, which occupies the entire third
floor—and then some—of Marriotts sprawling
headquarters in Bethesda, Maryland.

A Shared Commitment

No company, of course, grows so enormous with-
out a sense of purpose and direction. Both charac-
teristics surface in the conversation of Marriott's
managers and in the self-assured manner with
which the company proceeds in its empire-build-
ing. Confidence is what underlies Marriott's strin-
gent design standards, which set minimum levels
of quality for all Marriott facilities and ensure,

within reason, their profitability. “The alternative
to level of standardization is increased cost," says
Bob Dacey, senior vice-president for design.
Controlling costs, while ensuring quality, is the
A&C staff's mission. The multidisciplinary group
of design and construction professionals oversees
the development of virtually every new Marriott

property from preliminary number-crunching
through design phases to the moment when the
final bathroom tile is cemented in place. Yet the
volume of construction activity has become so un-
wieldy—Marriott, for example, will build some
10,000 new hotel rooms, renovate another 10,000—
15,000, and refurbish more than 800 restaurants
this year alone—that almost all design and en-
gineering services have been hired out since 1978
to architects, interior designers, and engineers.

Choosy About Consultants
Marriott selects outside firms from a constantly
changing file of available candidates. How do firms
get in the file? Initial selection comes from recom-
mendations, mostly, though it is not uncommon
for firms to nominate themselves. When а new
project comes up, ten-or-so firms are drawn from
the file and their qualifications reviewed. Firms lo-
cated near the project receive strong consideration,
"though if we can't find a local one with the right
expertise, we might hire one from 1000 miles
away," says architect Russell L. Jordan, vice-presi-
dent for business development. Requests for pro-
posals are then sent to four to six firms.
Interestingly, interviews are conducted at the
consultants' offices, rather than at Marriott head-
quarters. Jordan says it's a good way to assess the

Timothy Hursley

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facilities and working atmosphere in the outside
office. Final selection weighs heavily on how well
a potential consultant runs its business and how
well it has performed other jobs under similar cir-
cumstances. “How competent and responsive they
are is the most important thing,” Dacey says.

That responsiveness translates to a willingness
to work within the constraints of Marriott’s stand-
ards, which are described as everything from
“rigid” to “comprehensive,” depending on whom
you talk to within the company. Outside architects
sometimes react negatively to the guidelines, Jor-
dan says. “They make personal decisions that are
not based on a lot of research,” he adds. “But the
architects who work for us are banging on the door
to work for us again.”

Expectations Based on Experience
Marriott closely monitors the progress of its proj-
ects and measures that progress against its consid-
erable experience. “I think we give designers the
widest possible latitude,” Jordan says. “We expect
a good designer to be innovative in satisfying an
owner's requirements." Over the years, Marriott
has compiled vast amounts of data on the strength
and durability of products and finishes that are
specified, for example, in hotel rooms. "We know
an awful lot about doors," says Dacey. Con-
sequently, the guest room doors in a new Marriott
hotel will not be a spec writer's best guess but,
rather, will be doors that have proven themselves
to minimize life-cycle costs.

Marriott's design guides serve as building criteria
the company has developed over time through
market surveys and design, construction, and

Progressive Architecture 6:88

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operating experience. Periodically updated as con-
ditions change, the guides govern the design of
items such as building exterior, public circulation
Ways, meeting rooms, guest rooms, vending areas,
linen storage, and employee lockers. Lengthy sec-
tions of the guide detail the design of laundry
areas, food and beverage production facilities, and
building systems.

A Boom of In-House Staff

The unprecedented expansion of Marriott has
prompted а parallel growth of its A&C Division,
which began in the 1930s with a handful of employ-
ees under J.W. Marriott’s direct supervision. Now
the division employs some 1000 people, including
about 180 in architecture (70 of whom are regis-
tered). Other disciplines included in the division
are engineering, interior design, food and laundry
facility design, accounting, construction, and infor-
mation systems. An active procurement wing re-
searches, buys, and tests the fixtures, furnishings,
and equipment that eventually find their way into
Marriott-owned buildings. And if products that
meet Marriott standards can’t be found on the mar-
ket, Dacey says, then the corporation will arrange
to manufacture them. Such was the case with flimsy
fiberglass shower stalls that dominated the market.
While impressed with the prefabricated stalls’ po-
tential to reduce installation costs, Marriott found
them of unacceptable quality and so fabricated
more durable stalls made to company specs.

For those who choose design careers at Marriott,
there is a departure from the pattern of work typ-
ical in many offices, where an individual’s attention
may be focused on one to three projects at a time.

LL 40/12m

The lobby floor plan (above, left) for
the Atlanta Marriott Marquis indi-
cates the large entrance drive
shared by the hotel and twin office
buildings developed by Portman.
Eighty-five percent of the meeting
and convention activity is consoli-
dated on the hotel convention level,
located one floor below the lobby.
The hotel tower section (above)
shows the location of the 10th floor
“skyline level,” a reception floor at
the atrium’s narrowest point, where
guest room partitions were elimi-
nated and floor-to-ceiling height
increased to improve views of the
city and admit more natural light.

DZ Steve

“Here an architect lives out his career on a much
broader stage,” Jordan says. Marriott’s architects
describe their role as “influencing design,” as op-
posed to design per se. “We manage a process
rather than a product,” says Bill Dye, who came to
Marriott seven years ago fascinated by the prospect
of collaborating with architects worldwide.

“I think what attracts a number of architects,
particularly young architects, is that we offer a
tradeoff from being on the boards and designing,”
Dye says. “We offer an opportunity to manage a
project, selecting and evaluating and hiring an out-
side consultant. We offer a good exposure to the

business of architecture. We kind of step out of

our design shoes and into our management shoes.
And I think if we were ever to go back into private
practice, we would be better prepared for the busi-
ness and administrative aspects of architectural
practice.”

Rare Opportunities
Working at Marriott presents opportunities to have
a hand in development while preserving the role
of designer, says architect Leland Turner, who
found land development a difficult kind of experi-
ence to gain while in private practice. While work-
ing for the corporation also offers a level of job
security often hard to obtain in architectural firms,
Jordan says he finds that many young designers
move on quickly to other jobs in order to build a
broad base of experience. “We run a hotel design
school here,” he quips. A corporate work ethic per-
vades the A&C division as well, with the office
buzzing most days 7 A.M. to 7 P.M.

Tom Holmes, an A&C veteran of 18 years,

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watched the division double in size in just a few
years. But he says the corporation is getting better
as well as bigger. The use of focus groups, for
example, provides Marriott with a source of user
feedback that improves its services.

Among those areas where he insists Marriott has
improved is design. “Perhaps 15 to 20 years ago,
you wouldn’t have seen these hotels as architecture,
but only as buildings,” Holmes says. “I have a prob-
lem with our buildings being viewed only as sculp-
ture and not judged according to how they func-
tion as hotels. No other company is doing hotels
that work so well for us and for the needs of our
guests.”

With such a commitment to the Marriott way of

doing things, Holmes says it is inevitable that there
will be bad experiences with prima donna archi-
tects who pretend to know more about Marriott’s
guests than the company knows. And there have
been clashes. “But I think most good designers
appreciate the standards and use them to their ad-
vantage,” he says.

The best case in point, Jordan says, is Kevin
Roche, who recently was selected to design a new,
3-million-square-foot corporate headquarters for
Marriott. Though the project is still in conceptual
design stages, Roche already has adapted to the
Marriott style. “Roche said it beautifully,” Jordan
recalls. “He said: ‘Innovative design should be used
to bring the building in on time апа within
budget.’ ” To the Marriott way of thinking, those
words are music. Vernon Mays u

EIE

The latest of Marriott's entries into
the convention-based mega-hotel
market, both now under construc-
tion, are the 999-room San Antonio
Marriott Rivercenter (left) and
1500-room San Francisco Marriott
(right). The nearly 1.3 million-
square-foot San Francisco hotel,
designed by Daniel Mann Johnson
& Mendenhall's office in Los An-
geles, is scheduled to open in late
1989. Its 840,000-square-foot coun-
terpart in San Antonio, designed by
the Baltimore office of RTKL Asso-
ciates, is slated to open in November
of this year. Marriott Vice-President
for Business Development Russell
Jordan says he expects the two proj-
ects to be among the last of the con-
vention mega-hotels built for as
many as 20 years, due to saturation
of that segment of the market.

Progressive Architecture 6:88

‘ourtesy Marriott Corporation

Corporate Clients
IBM

Big Blue Designs

IBM, one of the first
U.S. companies to
embrace Modern
architecture,
remains at the
leading edge of
design with its
innovative review
process and its
passion for
excellence.

100 Progressive Architecture 6:88

IF there is a corporation in this country associated
with supporting good design, it is IBM. From the
sleek forms of its products to the impressive list of
well-known architects that have designed its
facilities, IBM has shown that design can be a pow-
erful marketing tool. “We strive to be at the leading
edge of our business,” says William Kistler, man-
ager of IBM’s Architecture and Design Programs,
“and like to reflect that in our architecture.”

What helps the company stay at that leading
edge of architecture is its use of an outside design
advisor. In 1956, IBM hired Eliot Noyes to serve
as the company’s first design advisor for architec-
ture and industrial design. “He convinced the com-
pany to adopt a modern design vocabulary,” says
the company’s current advisor, Gerald McCue,
Dean of Harvard’s Graduate School of Design, “as
a way of setting it apart from competitors.”

McCue succeeded Noyes after his death in 1977,
as IBM’s architectural design advisor. “While IBM
had a strong tradition of caring about excellence
in everything that it did,” says McCue, “I felt that
new ideas were emerging in architecture that
would give us an opportunity to become more ad-
venturous without losing the integrity of the com-
pany’s tradition.” McCue also adds, “The strong
interest in design quality under the leadership of
Art Hedge, IBM’s vice-president, corporate real
estate and construction, has permitted us to make
important advances.”

Both McCue and IBM emphasize the advisory
aspects of McCue’s role. “He does not approve
projects for IBM,” says Kistler, “but he helps keep
in focus the overall objectives of a project. He
makes suggestions and acts as a sounding board,

and IBM makes the decision.” McCue concurs. “I
have an ombudsman role,” says McCue, “and speak
up when something isn’t consistent with IBM’s high
standards. I give the second opinion.”

McCue reviews most aspects of a project’s design,
from the schematic and design development draw-
ings to interiors, furniture, and colors. Such up-
front work is important, he says, to get the design
going in the right direction. “It is important to get
everyone to agree on objectives,” says McCue, “to
get a design going in an acceptable direction.”

Corporate Life

The contact point for McCue is a design team—
half of whom are architects—on IBM's corporate
real estate and construction staff. Kistler says,
“This group has worldwide responsibilities for ar-
chitecture and interior design. They are part of a
corporate real estate staff that controls all of IBM’s
real estate activities.” Much of the facilities and
construction management is handled by the com-
pany’s various operating units. The corporate staff,
says Kistler, does “practically no” architecture or
interior design work themselves, and instead com-
missions outside firms for most new work.

ІВМ architects derive professional satisfaction
in other ways. "The most gratifying part of the
job," says Kistler, "involves interpreting business
needs, turning them into concrete programs and
objectives, and working with the profession to
transform them into a quality building. I enjoy par-
ticipating in watershed decisions that lead to a good
building—budget, program, architect selection.
Working in a corporation gives one the opportu-
nity to affect the final outcome at that early stage."

ләнен

101

Progressive Architecture 6:88

102

Corporate Clients
IBM

Selecting Firms

When assembling a list of firms to interview, IBM's
corporate staffers draw from their first-hand
knowledge of trends in the profession and the
strengths of various firms in the field. “We also
consider the location of a firm,” says Kistler,
“whether it’s busy or not, and whether it has done
projects of similar size and scope.” McCue also
suggests firms for the IBM list. “I point out the
very best designers to the company,” says McCue.
“There is a tendency among some people to think
that they can manage great work out of ordinary
designers, but it can’t be done.”

The company interviews three or four firms for
every job. What IBM mainly looks for in a firm is
“insight,” says Kistler. “We try to be reasonably
specific in defining what we are looking for in a
project, but we respect architects who can show us
things we hadn’t thought of and demonstrate that
they have investigated all options and have found
the very best solution.”

Previous experience with a particular building
type also is important, particularly if the project is
technical in nature. “We don’t want to be teaching
a firm how to do a laboratory,” says Kistler.

Once selected, a firm is presented with a set of

guidelines that, says Sanford Nelson of Cooper
Carry & Associates, “are fairly daunting at first.”
But IBM's people defend the guidelines as the ac-
cumulated wisdom from having done a lot of build-
ing. The guidelines, says Kistler, “are not terribly
confining except in a few areas.” And he adds that
“there is a caveat at the end that states if a better
way of doing something can be shown, IBM wel-
comes the deviation.”

Progressive Architecture 6:88

Rion Rizzo/Creative Sources Atlanta

Joint Ventures

The selection and review process is slightly differ-
ent for IBM’s joint-venture projects, in which the
company typically participates as both anchor ten-
ant and partner with a major developer. In draw-
ing up a list of firms to interview, for example, “the
name architects have a slight advantage,” says Kis-
tler, “since name recognition helps in leasing and
future marketing. In our own projects, we try not
to always gravitate to the already well-established
firms, but in the joint ventures, we have to balance

our own needs with those of our partners and of

the marketplace.”

The level of design review also is somewhat ab-
breviated. “I don’t spend as much time on the joint-
venture projects or go into as much detail,” says
McCue, “because both IBM and its partner are
working together to guide the architect’s design.”
A primary reason that IBM enters into joint-ven-
ture partnerships as opposed to direct lease situa-
tions, says Kistler, “is that it allows us to retain a
substantial role in the design decision-making
process.”

‘The emphasis on design quality emerges in all
discussions with IBM people as well as with archi-
tects who have done company facilities. “We try to
do what’s right for the business,” says Kistler,
“while at the same time making the right design
decision. We don’t have one image, one aesthetic
that we push on architects. If IBM has a single
style, it is simply excellence.”

Tom Fisher, James Murphy a

Timothy Hursley

FIAST FLOOR PLAN

IBM’s office in Bordeaux, France,
was designed by Jean Pierre Buffi.
The approach to the building skirts
an undulating lawn (above). The
entry to the building is through a

circular space clad in stone and cut

out of the base; a curved cornice
and slender columns form a colon-
nade around that space (below left).
The nearly square base contains
common facilities and a broad lobby
and corridor that makes the transi-
tion from the entry court to the
elevators at the opposite corner of
the building. The L-shaped office
block has recessed glazing and hori-
zontal exterior louvers facing south.
The north-facing walls have flush
glazing (above left).

Progressive Architecture 6:

Corporate Clients
Disney

Mickey the
Talent Scout

The real-estate
branch of Disney’s
entertainment
empire is recruiting
high-design
architects to create
cost-effective
buildings around
Disney’s booming
theme parks.

104 Progressive Architecture 6:88

IN just four years, the Walt Disney Company has
changed from a Hollywood has-been to the hottest
movie studio in the country—hot enough to land
its animated icon, Mickey Mouse, and its CEO and
chairman, Michael D. Eisner, on the cover of Time.
Motion picture, television, theme park, and mer-
chandising operations have all contributed to the
success of Disney’s $3 billion entertainment em-
pire; now the mouse that roars wants to make it
big in real estate. Disney Development Company,
a wholly owned subsidiary of WDC, was formed
three years ago with the express purpose of making
more profitable the land that Disney owns around
its theme parks. That’s a lot of land: 28,000 acres
(of which only 4500 have been developed) in Or-
lando, Florida, home of Walt Disney World and
Epcot Center; and just under 5000 acres in France,
where the $2 billion Euro Disneyland will open in
1992. In the next two years, DDC will have $400
million of construction in the works, for which it

is energetically enlisting a star-studded roster of

guest architects, much as the parent company as-
sembles the talent for its movies. Michael Graves,
Robert A.M. Stern, Arata Isozaki, Frank Gehry,
Andres Duany and Elizabeth Plater-Zyberk, Ven-
turi, Rauch & Scott Brown, and Gwathmey Siegel
are some of the names in this glittering cast.

The first of these projects to be unveiled, how-
ever, is one for which Disney is not the actual client.
The $375 million Walt Disney World Dolphin and
Swan hotels (P/A, March 1988, pp. 37—38) were
developed and financed by a joint venture team
that includes Metropolitan Life Insurance Co.,
Tishman Realty & Construction Co., and Aoki
Corp., with Tishman as managing partner. The

two convention hotels, which will be located next
to Epcot Center and which, when they open over
the next two years, will have a total of 2300 rooms,
were designed by Michael Graves Architect,
Princeton, New Jersey, with Alan Lapidus Archi-
tect, New York, responsible for design develop-
ment and working drawings. The development/
financing team, which, as the client, is actively in-
volved in the design process, leased the land from
the Walt Disney Company under Disney’s direc-
tion, and Disney Development was responsible for
the master planning, as well as for bringing the
Graves office into the deal and negotiating its fees.

If this sounds complicated, it is. To make a long
story short, this project, while atypical of Disney's
development efforts, exemplifies its corporate phi-
losophy of “entertainment architecture.” ‘The
phrase, coined by DDC president Peter S. Rum-
mell, characterizes Disney’s belief that the architec-
ture outside the boundaries of Disney’s theme
parks should embody the same fantasy and sense
of place as that within. The theme parks themselves
are designed and built by Walt Disney Imagineer-
ing, another WDC subsidiary (with outside archi-
tects for technical backup). The 80-person Disney
Development group, however, does no in-house
design; the dozen or so architects it does employ
serve as project managers working with outside
designers. The aforementioned list of major archi-
tects is Disney’s intended key to creating a corpo-
rate and commercial development kingdom—of
hotels, resorts, shopping centers, and office build-
ings—with as much magic as that of the theme
parks. As Michael Eisner succinctly puts it, “I don’t
want to drive by a bad building every day.”

But how does Disney go about getting good
buildings—and good architects? The research
process seems to be an informal one, with execu-
tives from both DDC and WDC, including Eisner,
doing a lot of reading, looking, and asking around.
"Who's doing good work?” is a question they often
ask, although chances are that they already know.
"[ gave them the names of several young archi-
tects," recalls Michael Graves, "and they [Disney]
had talked to all of them. They're amazing."

Once an architect begins to work with Disney on
a project and is given the program, initial meetings
stress creativity and brainstorming. According to
Wing T. Chao, the architect/planner who is DDC's
vice president in charge of master planning and
architecture, Disney encourages designers to
"show us everything; nothing is too wild or crazy
to look at." Some of the wildest ideas have report-
edly come from Eisner himself, who sees his role
as that of "cheerleader and challenger." For a CEO,
Eisner maintains an extraordinary degree of in-
volvement in every step of the design process. He
hastens to add that he doesn't want to be an imped-
iment; rather, he aims to protect the architect by
"not allowing the process to take over" from the
design concept.

Working with the company, however, is not al-
ways a day at Disneyland. DDC may be committed
to quality architecture, but it is also committed to
budgets and schedules, both of which can run tight.
In the movie business, Disney's skinflint reputation
is legendary; architects may find the company
equally tough. Michael Eisner believes that quality
"is not always related to cost per square foot; imag-
ination is the key." Easier said than done, perhaps.

Disney spends millions to build the theme park
attractions for which it is renowned, but can justify
the investment because the attractions generate big
returns. Outside the theme parks, however, the
economics change. As Peter Rummell explains,
"You lose the protection of the gate [admissions], "
so DDC’s architects don't have the luxury of the
Imagineers’ budgets. “Our hotel has to compete
with the Hyatt down the street," Rummell adds.
This makes DDC extremely hard-nosed when ne-
gotiating contracts and fees, but the company ad4
mires architects who can stand the heat. "I don't
know whether we're a lot of fun to work with,"
muses Rummell. “But we respect people who have
the guts and sophistication to defend their ideas,
who don't change to please the client."

This no-nonsense attitude also characterizes the
client group at Tishman for the Dolphin and Swan
hotels. Tishman, which built Epcot Center and the
Hilton hotel at Disney World, confers frequently
with Graves, Lapidus, and DDC to ensure that its
schedule and budget goals are met. Thomas Mar-
chisotto, an architect who is a vice president at
Tishman Construction, notes that planning and
budget considerations have been a top priority
from the outset.

Disney is moving on to other projects, including
an office building and hotels by the Stern office,
and another Graves design, for its own corporate
headquarters in Burbank. But will it be able to pro-
duce the magic of Disney in today's competitive
real estate market? Will entertainment architecture
be good architecture? Stay tuned.

Pilar Viladas =

When they are both open in 1990,

the Walt Disney World Dolphin and

Swan hotels, desi

Graves, wil m the largest con-

vention resort hotel complex in the
Southeast. The 26-story, 1510-room

Dolphin (at ground, and

facing p
will be

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lobby serves as a

between the hotel lobby a

the 165,000-square-foot

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commanding central pyramid, is

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with а 55-foot-high dolphin. Four

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hotels will share a “themed”

Progressive Architecture 6:88

William Taylor

105

Corporate Clients
Disney

Fre Ed

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HOTEL
1 PORTE-COCHERE
2 FOYER
3 ROTUNDA LOBBY

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6 GUEST SERVICES
7 RETAIL

8 LOBBY
9 MAIN STAIR HALL
10 RESTAURANT
11 KITCHEN
12 TERRACES
13 OPEN TO BELOW
14 DOLPHIN FOUNTAIN COURT
15 GUEST ROOM CORRIDOR

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16 PRE-FUNCTION
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DOLPHIN HOTEL, GROUND FLOOR PLAN NA H 100730m

106 Progressive Architecture 6:88

The Dolphin and Swan hotels will
be located on a 150-acre site just to
the west of Epcot Center’s World
Showcase (to which they will be
connected by waterways), and to the
north of the Disney/MGM Studios,
which will open in 1989.

The Dolphin is the largest struc-
ture on Walt Disney World’s 28,000
acres, and to accommodate so many
guest rooms, there was no way to
avoid making the building big. It
had been a Disney rule that no
building outside the theme parks
should be visible from inside them;
out of necessity, the Dolphin is the
first to break that rule, and Michael
Graves's pyramid design (a “mock
mountain”) is dramatic enough to
turn bigness into theatricality.

Although the Dolphin and Swan
will exemplify state-of-the-art con-
vention/resort hotel design, they
also contain an impressive amount
of fantasy, supplied by Michael
Graves and his office, who worked
with hotel designers Trisha Wilson
& Associates. The Dolphin (facing
page, 1, view across causeway from
Swan) has a cascading fountain that
ends in a clamshell pool supported
by four dolphins. The Dolphin
Fountain Court is lined with the
hotel’s seven restaurants. Its barrel-
vaulted foyer (2) leads to the three-

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SWAN HOTEL, GROUND FLOOR PLAN

story-high, octagonal rotunda
lobby, with lattice columns and
walls, and a tented fabric ceiling.
The Coconuts Lounge (3), a cocktail
lounge/brasserie, features thematic
cutouts of palms and large pieces of
fruit: the watermelon and can-
taloupe are drink rails; the bananas
are the bar; and the pineapple is the
d.j.'s booth. The Dolphin’s Coral
Cafe (4), with its wave-stencil mu-
rals and coral-patterned carpet, fea-
tures large cutouts of “caricature”
fish, including dogfish, catfish,
tilefish, and of course, mousefish.
'The ballroom (5), on the second
floor of the convention center, is
adorned with large-scale flower
murals above a “paneled” wall base.
Whimsy is no less prevalent at the
Swan (6). Its lobby (7), a tall space
with a tented fabric ceiling, is
punctuated by columns of gathered
“papyrus reeds" with palm-frond
capitals. The guest room corridors
(8) are designed to break up the
usual endless expanses of wall with
a painted beach scene of sand and
palm trees; guest room doors are
painted to look like cabanas. In the
Swan's grand ballroom (9), shut-
tered “windows” above a “paneled”
base open onto a mural depicting
views of a tropical landscape.

HOTEL
1 PORTE-COCHERE
2 FOYER

3 LOBBY

4 LOBBY LOUNGE
5 REGISTRATION

6 ADMINISTRATION
7 GUEST SERVICES
8 RETAIL

9 LOUNGE
10 RESTAURANT

OOM
23 SERVICE CORRIDOR
NN 1 1 1 à 100730m

William Taylor

Progressive Architecture 6:88 107

Р/А Inquiry
The Hotel Guest Воот

SN
чаш)

РА Inquiry

Inside the Hotel Guest Room

108 Progressive Architecture 6:88

The competitive scramble to win
a piece of the lodging market
results in hotel rooms that are
varied to fit particular types of
guests.

AS the hotel industry begins paying more attention
to variations in the profile of overnight guests, so
the notion of good guest room design becomes
more complex—and more pluralistic. Presented
with the old saw, “You are what you eat,” today’s
hotel designers would likely draw on prevailing
wisdom in the industry and counter with a maxim
of their own: “You are where you sleep.”

Close scrutiny of hotel guest demographics, com-
bined with saturation of the convention-based
mega-hotel market, has prompted hoteliers to
reevaluate their expansion plans and look for ways
to lure a diverse group of travelers that includes
professional organizations, vacationing families,
free-spending singles, and traveling business
people. The result is increased fragmentation of
the fiercely competitive lodging industry, which
runs the gamut from the plush Waldorf-Astoria to
McSleep Inn, the latest entry in the super-budget
category. Most of the major hotel chains have intro-
duced new lodging types each designed to appeal
to a different consumer, identified either by in-
come, lifestyle, or some combination of the two.

The All-Suites Concept

Hence the rapid introduction of the all-suites hotel,
which made its first appearance in the early 1980s
when Holiday Corporation introduced Embassy
Suites. Several factors led to the proliferation of
hotel suites, defined generally as rooms that in-
clude separate spaces for sleeping and entertaining
(or working), often incorporating a kitchen. The
tremendous influx of women into business was one
incentive. "Women, especially, are sensitive to hav-
ing the bed staring everybody in the face when

GUEST ROOM PROTOTYPE FURNISHING PLAN

While not indicative of the
typical guest room floor, this
prototype plan for the place-
ment of fixtures, furnishings,
and equipment in Compri
Hotels illustrates how a vari-
ety of room types are accom-
modated within a regular
structural grid. Bathrooms
typically are consolidated to
minimize plumbing costs. Re-
cessed room doors give a
sense of private entry and
add variety to the corridor,
which may be up to 20 rooms
long. Connecting units and
suites are located on the
building corners, while guest
room units are extended
lengthwise to provide the ad-
ditional space needed for two

double beds. The fact that
guest room floors represent
between 65 and 85 percent of
the total hotel area guaran-
tees they will be closely
analyzed for wasted space or
poor layout. The room plans
illustrated here are typical in
their creation of discrete
zones for sleeping, working,
bathing, and relaxing. Often
because a room is occupied
by more than one person, this
separation of activity zones
helps to reduce conflicts be-
tween occupants and allows
more than one activity to
occur at a time. The conven-
tional double-double room in
a hotel with interior corridors
places the bathroom and

dressing areas near the entry,
the beds in the center of the
room, and seating and work
tables beside the window for
better light and views. Vari-
ations in room layouts are
achieved by combining or
separating these zones in new
ways. Compartmentalized
bathrooms, for example, are
created by isolating the
bathtub and toilet from the
sink and dressing area.

LIVING ROOM SUITE

TYPICAL

CORNER UNIT ||

Progressive Architecture 6:88

Compri Hotel Corporation

109

Р/А Inquiry
The Hotel Guest Воот

SLAB PLANS TOWER PLANS

1 ALAMEDA PLAZA—KANSAS CITY, MO. 6 BERKSHIRE COMMON—PITTSFIELD, MA.

they are sitting down for a business meeting,” says
Hank Brennan, a partner at Brennan Beer Gor-
man Architects, of New York. The firm designed
the prototype for Sheraton Suites, working first
with ideas gleaned from financial analyses and cus-
tomer surveys, then with results from critiques of
full-scale mockups.

Sheraton opted to go with suites composed of
side-by-side rooms. The original model followed
by Embassy Suites was an in-line suite—resembling
a “shotgun house” in concept—that was developed
by Walter Rutes, a former design director or vice-
president at such hotels as Sheraton, Ramada,
Inter-Continental, and Holiday Inns, and author
of the 1985 book, Hotel Planning and Design. “It
took us a long time to figure it out,” Rutes says.
“But we finally discovered we could give customers
a lot more in two rooms than we could in one.”
Rutes, now chairman of 9 Tek Ltd. Development
Corporation in Scottsdale, Arizona, has seen his
thoughts on suites evolve. After proposing the in-
line suite, he developed a side-by-side suite ar-
rangement, which is less efficient than the in-line
model (by adding more corridor and more perime-
ter to the building, for example) but adds more
privacy to the suite. Because much of the cost of
hotel rooms lies in the HVAC systems and bath-
3 HYATT REGENCY—FLINT, MI. 8 HOLIDAY INN—ONTARIO, CANADA rooms, particularly in tilework and plumbing,
building a bedroom suite typically costs only 10—15
percent more than conventional rooms. Rates for
suites average 20—25 percent more than for con-
ventional rooms, offering an attractive profit po-
tential.

As side-by-side suites fast become the standard,
Rutes already is touting ideas for a third variation:
the bi-level suite. “It’s cost efficient, more impres-
sive spatially, and more economical to build,” he
says. By offering suites with the living and sleeping
areas on separate floors, hotels will be giving con-
sumers accommodations that don’t look like hotels,
which is one of Rutes’s formulas for success. He is
introducing bi-level suites on the top level of a hotel
now in the works in Orlando, but says he believes
an entire hotel done with bi-level suites would be
both marketable and extremely efficient.

But developing new niches in the lodging indus-
try, even slight variations on proven themes, is
something industry giants approach with care.
Exhaustive feasibility and marketing studies are
commissioned often before the first thoughts are
given to design.

2 SHERATON HARTFORD—HARTFORD. CT. 7 NOBLE INN— TAMPA, FL.

4 WESTIN— TULSA, OK. 9 WESTIN—SEATTLE, WA.

Experimental Mock-Ups

The most common tool used to test new ideas is
the full-scale room mock-up. Two mock-ups built
for the development of Sheraton Suites were used
100/300 pi 40712m to sample the opinions of subjects who were asked
to rate the rooms on such areas as dimensions,
finishes, colors, and psychological comfort. Similar
mock-ups, while not tested so rigorously, are used
routinely by hotels whenever new interior designs
are introduced. “It’s a living specification,” says in-
terior designer Howard Hirsch of Hirsch/Bedner

Watson-Guptill Publications

5 BOSTON MARRIOTT/COPLEY PLACE—BOSTON, MA. 10 NEW OTANI—LOS ANGELES, CA.

110 Progressive Architecture 6:88

and Associates, of Santa Monica, California. Mock-
ups are built to evaluate the qualities a finished
room will have. Visual cues might demand that the
dresser height be raised slightly or the mirror made
smaller. “Plus if you can change a detail that makes
it easy for the tradesman to do his job—if you can
cut a half-hour of labor for each room—that begins
to add up real quick,” says Steven R. Schnoor, di-
rector of design for Westin Hotels and Resorts.

Refinements continue even after the hotel is built
and in operation. Ever wonder if anyone takes seri-
ously those customer response cards left conspicu-
ously on the nightstand? Believe it, they do. Some-
times comment cards, in fact, are used to assess
users’ reactions to new amenities. “A lot of these
things—say, hair dryers—we will include in the
room and see if people comment on them being
there,” says Richard Emrick, vice-president for
new construction of Quality International.

In addition to reviewing guest’s reactions, the
Marriott Corporation employs a formalized inter-
nal feedback system. After a Marriott hotel has
been in operation six months, the hotel’s executive
staff and regional managers meet with the design-
ers and contractors to discuss the building’s per-
formance. Further information regarding accepta-
bility, durability, and utility of materials, systems,
finishes, and construction means and methods is
fed back to the corporation’s Architecture and
Construction Division, which uses such data to up-
date its hotel design guides. Marriott design, pro-
curement, and construction staff also works di-
rectly with manufacturers to improve products or
develop new ones to fit Marriott’s needs.

Listening to Guests
One issue that creeps up in conversation with hotel
design chiefs is “perception of quality,” something
that user feedback systems help to gauge. User
feedback helps hoteliers decide where in the room
their money is best spent. “We’re trying to create
the feeling of an executive hotel without the cost
of that,” Brennan says. Guest responses have
prompted a general upgrading of hotel rooms,
particularly in the higher-end hotels that cater to
discriminating guests and in resorts, where hotel
corporations are investing heavily. In those prop-
erties, ceramic tiles are taking the place of vinyl
tiles. Bathrooms are getting larger, often featuring
longer vanities. And, in deference to the large
number of guests who work during some portion
of the day in their room, work space is getting a
second look, featuring larger tables, better chairs,
and lighting that can be adjusted for the task.
“People want more,” Hirsch says. “They want to
travel in a style to which they would like to be
accustomed, even if it’s one to which they are not.”
So when it comes to hotel design, the guest room
is king. “The architecture of the lobby may grab
their initial interest, but it’s the guest room that
keeps them coming back,” says Rutes. Yet, the eco-
nomics of hotel construction often supersede inno-
vation in the design of individual rooms, says

13 PROPOSED PLAN

Prior to design of individual
hotel rooms, alternative guest
room floor schemes are
studied. Single-loaded cor-
ridor plans (1) are rare be-
cause of the amount of cor-
ridor required per room.
Double-loaded plans may
embed the elevator core in
the slab (2), or separate the
core from the main structure
(3). Slab plans can be made
more efficient by offsetting
the corridor (4), which reduces
building perimeter and com-
bines guest and service cores.
The L-shaped slab (5) main-
tains guest rooms along the
entire building perimeter.
Tower plans (6—10) require a
compromise between the de-

14 RESOLVED PLAN = — 10% 3m
sirable number of rooms per
floor and the core and cor-
ridor space required to serve
them. Once designers turn
their attention to individual
guest rooms, they often rely
on full-scale mock-ups (11) to
evaluate dimensions and
specifications. Today furnish-
ings are being specified to
make hotel rooms resemble
homes (12). One effort to open
the room spatially began with
this proposal (13) by Hirsch/
Bedner & Associates and led
to a compromise scheme (14)
that satisfied both the inves-
tor, who liked the angled
entry, and the operator, who
preferred rectilinear walls in
the room.

Progressive Architecture 6:88

Brennan Beer Gorman Architects

Quality Suites

Drawings: Garry Harley

111

Р/А Inquiry
The Hotel Guest Room

16 STANDARD DOUBLE—DOUBLE ROOM PLAN

а.

Watson-Guptill Publications

19 LUXURY ROOM PLAN

.112 Progressive Architecture 6:88

1073m

Hyatt’s John Nicolls, vice-president of technical as-
sistant services. “It turns out that we rely more on
the furnishings, where there is more room for flex-
ibility within the same budget,” Nicolls says. Hotels
also change interior schemes to introduce a re-
gional flair to otherwise universal construction.

If any trend is shared by all the chains, it is the
move to make hotel rooms look more like home.
Furnishings, for example, have taken on a de-
cidedly residential look. But, more than the archi-
tecture, hotels rely on small comforts to win repeat
customers. Non-architectural bonuses such as hair
dryers, second televisions, free breakfasts, and
cocktail hours become the point of difference most
hotels use to lure guests. Largely invisible improve-
ments—for example, the fire-resistant materials in
beds, chairs, and draperies that became more wide-
spread in the past few years—are touted by hotels
but lack in sex appeal.

“Everyone in the hotel business thinks they have
the best rooms, but there really aren’t many differ-
ences,” says John Hardy, vice-president of architec-
ture for Interstate Hotels, a Pittsburgh-based hotel
development and management company. “A
room’s a room, for the most part.”

Assembly-Line Strategies
To a great extent, that’s desirable in an industry
that churns out hotel guest rooms the way Detroit
rolls cars off the assembly line. Economies of scale
are ever-present in an industry that employs tech-
niques of mass production. "We're looking for
nickels," says Bob Dacey, senior vice-president for
design at Marriott Corporation. Alternative plans
for guest room floors are studied in the early stages
of a hotel's design. Typically the schemes range
from variations on a linear slab (with double-
loaded corridors) to tower plans to atriums. Each
is analyzed for efficiency, which translates to dollar
investment. But, despite the limitations of cost con-
trol, Rutes insists that hotel rooms—even within
the same building—need not be as repetitive as
they are. Many variations can be made on the same
floor without financial penalties, he says. It's only
when variations occur vertically that the alignment
of plumbing stacks, for instance, is threatened and
construction costs soar. In practice, though, rooms
are generally standardized within a given hotel.
Twelve feet (which was once the maximum width
of commercial carpets) became the norm for room
widths after its introduction by Holiday Inn in the
mid-1950s. That dimension varies today from
11'6" for budget inns to 15 feet or more for luxury
hotels. Attempts to differ from these dimensional
rules of thumb usually invite frustration, simply
because guest room size, quality, and room rate
are closely interdependent. The three factors rise
and fall in conjunction, due largely to the impact
of construction and furnishing costs. The break
from that pattern inherent in the configuration of
hotel suites, which often are twice the size of con-
ventional rooms at nowhere near double the rate,
is compensated for by cutting back on public areas

such as lobbies, restaurants, and lounges. These
scaled-back public spaces are treated as amenities
meant primarily for guests; patronage by outsiders
is not encouraged.

Becoming One’s Own Supplier

To further reduce room costs, Marriott's staff de-
signs bedspreads, draperies, and carpets that out-
side contractors produce under the corporation’s
supervision. Carpeting, for instance, that might
cost $16 per yard at the discounted market price
can be manufactured for between $3 and $4 per
yard. Hirsch knows the scenario all too well. “If
the project starts coming out high,” he says, “the
first thing they look at cutting out are the multiples.
If you can save $5 on a bedspread, and you multi-
ply that by 1000 rooms, then that gives a saving of
$5000."

At Hyatt, furniture and finishes are bid for each
new hotel. Dressers, tables, lamps, and chairs are
designed for each hoiel and custom-made ex-
pressly for that hotel, a practice that costs the com-
pany significantly more in time than in money, says
Nicolls. In Marriott's case, standardization is jus-
tified as a way of ensuring quality, as well. The
company's procurement department maintains а
library of materials and finishes that have been
tested against the corporation's durability and
safety standards (checking floor tiles for slipperi-
ness, for example). And only those items may be
specified in Marriott hotel rooms. In general, hotel
room interiors must survive five years before they
are refurbished. Durability counts, so striking the
balance between institutional toughness and resi-
dential comfort is a constant struggle, Hirsch says.
“The ideal room for some operators would be
stainlesss steel," he adds.

Those are the compromises of which hotels are
made. Rooms become a trade-off between the spa-
ciousness guests adore and the economy required
to make hotels profitable. In the final analysis, says
Hyatt's Nicolls, the overriding concern is that "the
guest should be able to live more comfortably in a
hotel than at home." Room service, anyone?
Vernon Mays п

Further Reading

For more information on the design of hotel guest
rooms, consult Hotel Planning and Design, by Walter
Rutes and Richard Penner (Whitney Library of De-
sign, 1985. For ordering information, please write
Watson-Guptill Publications, 1515 Broadway, New
York, NY 10036). Also available on the subject are
Principles of Hotel Design, edited by the Architect“
Journal (The Architectural Press, London, 1970)
and the annual Hotel Specifications International
(Pennington Press, London). Numerous source
lists regarding hotel and resort architecture and
interiors are available from Vance Bibliographies,
112 N. Charter St., Monticello, IL 61856.

DOUBLE/DOUBLE 409 SF

Ne
LPS
4900000,4

BI-LEVEL SUITE, UPPER FLOOR PLAN

te ete ete eto.

23 BI-LEVEL SUITE, LOWER FLOOR PLAN

Room layouts and dimensions
change with the profile of the
guest. The basic budget motel
room (15) features a small
layout, limited seating, and a
sink and clothes rod in the
dressing area. The standard
double-double hotel room
(16) provides space for a table
or desk, and a self-contained
bathroom. The king-studio
(17) frees the room for living
space with a convertible sofa
and, in this case, conceals the
TV in an armoir. Resort rooms
(18) often have expanded
dimensions, balconies, and
more informal room layouts.
Some luxury rooms (19) offer
longer window walls and
four-fixture bathrooms.

Drawings: Garry Harley

Evolution of all-suites hotels
began with rooms that fol-
lowed the "shotgun" model
(20). Prototypes for Shera-
ton's side-by-side suites,
which offer more privacy
while suffering slightly in effi-
ciency, include options for a
luxury king room with Jacuzzi
(21) and a double-double
room with convertible sofa
(22). Independent designer
and developer Walter Rutes,
of 9 Tek Ltd. Development
Corporation, has gone a step
further with bi-level suites
(23) featuring separate living
and sleeping floors. The
stacked rooms will occupy the
top layer of a hotel Rutes is
developing near Orlando.

Progressive Architecture 6:88 113

Technics
Curtain Wall Cautions

Curtain walls are
ubiquitous. They
also are exacting
and require careful
design and detailing
and adherence to
recommendations
of manufacturers.

114 Progressive Architecture 6:88

* i
— — — — - —
— — е ы

PA Technics - 0 | E
Өр Against the Well + =

THE diagnosis and oui of problems hh curtains wall systems has become a realm of сезонні

practice unto itself, Curtain walls are not inherently flawed or more prone than other building

systems to problems; indeed, the broad range of nonstructural enclosures—each constifuting -

some form of curtain wall—are dmong the most refined and exactingly designed of construction
systems. When properly ботун) апа installed many represent the best walls the building
с industry can produce. 3 4

But, like most other parts of bitkdings: айын walls. are affected by аде: А generation of
-Miesian | Steel-and-glass | curtain wall buildings is now 35 years old and more, giving rise to. an
area of specialization that one engineer calls “building-exterior gerontology.” Also, some build- -
-ings of that era pressed too hard on the limits of building science. (Our understanding of such
phenomena: as high- level urban winds, for example, was in early stages of development.)

Remedial interventions for old or new curtain walls may be simple, but rarely are they easy-

* orinexpensive. In extreme cases, the cost ofthe remedy (say, complete removal and replacement
of an exterior Wall system) is matched only by the potential enormity of the problem itis designed
'to solve (say, crumbling pieces of stone and concrete, or shards of glass, spilling to the street
below). Fortunately, most such problems show warning signs long before disaster strikes; ard
dll can be averted by careful Senon. - ;
Water, Water, Everywhere
Water leakage is by far the most common complaint levied against virtually.all kinds of exterior
non-load-bearing wall construction, both old and new. Leaks are usually a precursor to more
serious difficulties; where there is unwanted water, more trouble is on the way.

One approach advocated by curtain wall design consultants, for both new designs and for
repairs, is to provide a secondary water-management system behind.a building’s primary, outer
shell. This entails additional flashing and sealing, on the premise that moisture and water will
inevitably find its way behind even the best of outer walls. In older buildings, such secondary
water-shedding systems have been. built after the removal and eventual replacement of recon-
ditioned exterior components.

In newer buildings, most problems can be traced to oversights or flaws in original design and
construction. The offenses to guard against are acts both of commission and omission:

= 25 AAA Brick Curtain Wall

BRICK WALL SUPPORTED Д

ON BUILDING up A P The entire gravity load for a
П 8

——— -—— vm

2 LD) 4 "ау structural frame, Seri-

ВЕ Ааа
57 À ' - spandrel beams and the pri-
= , , —

f 2 woll. Fractures developed
, VE

27 - along mortar joints where the

2 И Wy { walls intersected; interior
, _ Water leaks worsened, de-
РМа
2

.- semblies tend to grow over

- time as d consequence of ac-

8 ... cumulating moisture and de-

5 5 micropores апа

_ tiny cracks. Thus, the brick

curtain wall tended to move

= upward, especially at its top;

the penthouse assembly

‚ _ tended to move downward.

The remedy: rebuild the brick

curtain walls, carrying loads
ım the structure.

BRICK WALL SUPPORTED LR 1

ON FOUNDATION-CONTINUOU ac T4 ч е, -

TO ROOF LEVEL d EN 7 A і

DIRECTION OF
BRICK MOVEMENT

AXONOMETRIC SHOWING BRICK ча Ч — ——

‹ ourtesy: Simpson, Gumpert? & Heger

2 Flashing. Many details are conceived on the drafting board's neat world of two-dimensional
representation. Unfortunately, wind, water, frost, and a host of other elements operate in three
dimensions, recognizing few of the | pencil point's boundaries. Flashing details must anticipate
all paths that water might take. Also, intended design details must be effectively communicated
to those responsible for construction. Usually, these aims are best accomplished by drawing

-..; axonometric and isometric Views, not sections. —

>» PRET = IE E 4 - Le .

^... @ Workmanship. Newer curtain wall. systems, because they are lighter, thinner and less redun-

: TU oo dant than their antecedents, are less forgiving of faulty Workmanship. Some architects and

+ engineers now advocate designs that anticipate wide variations in the quality of field installa-
Rata go tion. "Assume that the worst that can happen on the jobsite will happen," says one consultant

that common details often overlook this fundamental trum.
e Surface-applied sealants. While this is surely an era of unprecedented advances in exterior
sealants, adhesives, and mastics, even these remarkable new materials cannot perform mira-
cles. Where roof overhangs, architectural reveals, and setbacks at windows once provided a
safety barrier—reducing the frequency and extent of exposure to water and sunlight at the
most vulnerable points—sedlants are now expected to suffice; too often, this strategy doesn't
work. According to one prominent curtain wall troubleshooter, the performance of many of
these new materials depends on ideal conditions and difficult application procedures.
e Complex movements and interactions. Contemporary curtain wall systems involve combina-
tions of differing materials апа components whose interactions are not well understood. Thus,
what works in theory (or appears to work in a small test assembly) may fail when placed in
service. It is difficult with a mockup to predict the effect of the sun's héat on the expansion of
1 als over a broad area. Wind tunnel tests also do not replicate pre-
cisely the actual conditions * will be experienced, especially when combined with the ravages

of wildly fluctuating temperatures and rain. Materials shrink and expand over time; these

Progressive Architecture 6:88 115

^+, — mm

WALL SECTION

g
Ы
“
В
&
E

a tate Culprits

EET

n to the advice and ا‎ manufacturers, fabricators, ‚

nsulation and Finish

jickly over
ind scratch
е Of the top-
base coat to
ed away
н rs, some
y joined.
pplica-

STEEL STUD

GYPSUM SHEATHING

EXTRUDED POLYSTYRENE

METAL LATH & BROWN
& SCRATCH COAT

MODIFIED ACRYLIC
TOP COAT

epe can become permanent, causing changet in the static and dynamig behavior of subaya,
tems and whole assemblies.

ig . bad

ruin the performance of the highest-grade caulks, adhesives, and йай. Н

Airborne dirt and debris also exacerbate problems that arise long after construction is com-
plete. Relatively small and harmless cracks created by natural thermal expansion can become
clogged with wind-driven materials, preventing them from closing as they might otherwise do.
This in turn leads to further water penetration and widening of cracks due to freezing. The cycle
grows worse with each season, eventually requiring extensive repair. Total replacement may
be necessary for a brick veneer wall on which a number of mortar bonds have been broken:

e Interactions with building mechanical systems. Excessive negative pressures in interior
spaces, caused by improperly designed or operated mechanical systems, can result in the induc-
tion of moist air and rainwater at exterior cracks and seams that might otherwise remain rela-

tively benign. Under such circumstances, a

building can literally "suck" the outside in.

In a hotel built in the mid-1970s and clad in metal panels, mechanical inducement of rainwater

and moist air through panel joints led to severe corrosion and eventual deterioration of the
unprotected panel backings; « a

further

16 Progressive Architecture 6:88

#
t of deteriorated panels and remedial caulking, i

‘the mechanical systems to balance interior and

reatment. What appears on the inside to be a leak-
ult of a leak someplace else, far away. Water is
ресу where vast areas аге concealed from

E
=
bj
=
E
5
H
E
3
S
Е
$
2
E
5
3

ALUMINUM
WINDOW FRAME

ALUMINUM
WINDOW SILL

SEALANT

Insulated Metal Panels and
Strip Windows

Serious water leaks de-
veloped almost immediately
at various points near hori-
zontal bands of windows in
this high-rise. Too much re-
liance was placed on surface-
applied sealants and adhe-

sives, particularly where the
window frames met insulated
metal panels and at panel-to-
panel gaskets. Movement in
the overall curtain wall as-
sembly had caused the seal-
ant bonds to fail and may
have contributed to the open-
ing of metal window corners
and expansion joints. Inves-
tigators identified five generic
places that water was able to
enter the system, damaging
interior finishes. The remedy
is termed "experimental" by
its designers, but it resorts to
means of protect-
ing against water: Flashing
was introduced at the window
sills and heads. This was ac-
complished by cutting, re-
building, and reinstalling the
insulated metal panels.

ALUMINUM SILL

ALUMINUM
WINDOW FRAME

METAL CLIP

NEW FLASHING

SEALANT

INSULATED
METAL PANEL

GYPSUM BOARD

REVISED SILL DETAIL

Drawings: Ethan Gerard

Applying new surfaces
problems, because water
treatments appear to solve pr ns seen on the interior, water and moisture can continue to
wreak havoc in areas that are not readily seen.

* gging the apparent leak—at the wrong site can compound
from drying or passing back to the outside. Even where

Tests of Time

One consequence of problems e in curtain walls of relatively recent vintage is а
requirement by many construction lenders for thorough, independent design reviews, tests, апа
evaluations prior to bidding. This is true also for proposed repairs, replacements, and remedial
treatments.

Yet even the construction and testing of full-scale mockups cannot always provide insurance.
Prototypes and test assemblies are typically fabricated under the best of circumstances. They
receive careful scrutiny at all — from the architects, engineers, consultants, manufacturers,
and technicians involved.

Such ideal conditions rarely exist th the field. What's worse, some engineers say, is that when
problems surface in a prototype, there is a tendency to prescribe patches or other repairs that
leave basic design flaws untouched.

Tests intended to accelerate the aging process and thermal cycling cannot simulate the full
range of complex and significant (and sometimes unforeseen, or unforeseeable) environmental
factors that will actually wear on a wall. As a further safeguard, some specifications—including
those for remedial treatments—now call for painstaking post-installation tests and inspections.

Even then, however, in the wistful words of one seasoned curtain wall repair consultant, "The
only true test is that of time." And, as we all know, time takes a toll, too. Thomas Vonier a

|
ul

Acknowledgements 3

P/A wishes to thank the following firms and individuals for their contribution to this article:
Thomas Schwartz, Simpson Gumpertz and Heger, Inc.; John Hoffman, Hoffman Architects; Robert
Landsman, Swanke Hayden Connell; and Jerry Stockbridge, Wiss Janney Elstner.

The author is an architect in Washington, D.C. He serves as P/A's correspondent there.
Progressive Architecture 6:88

117

The Ultralation exterior insula-
tion and finish system is
mechanically fastened and can

be installed over a wide range of

insulation boards and substrates.
The system consists of the ex-
terior finish, a specially designed
fiberglass reinforcing mesh, cor-
rosion-resistant mechanical fas-
teners, and an acrylic base coat.
Forty-eight standard colors and
a variety of textures are avail-
able. Dryvit.

Circle 138 on reader service card

Versawall metal panels are insu-
lated and factory-assembled for
use in wall or roof systems. The
panels consist of a galvanized
steel facing, an insulating foam
core (available in three thick-
nesses), and an interior liner that
can be finished for use as an
interior wall. The facing comes
with either a smooth or striated
profile, and a variety of standard
and custom colors are available.
H.H. Robertson.

Circle 139 on reader service card

118 Progressive Architecture 6:88

'lechnics-Related Products

The Graphiclad ornamental
panel system transfers com-
puter-generated designs onto
aluminum panels by a halftone
photographic process, which
permits the illusion of depth ina
flat panel. The panels—and the
designs on them—come іп a
variety of colors. Cupples.

Circle 140 on reader service card

Excel metal wall panels come in
two series of textural designs.
The P Series, meant to recall
solid cast metal work without the
weight and cost, is available in
aluminum, stainless steel, cop-
per, or bronze. The N Series
features sharp-lined geometrical
patterns and is designed for
execution in aluminum. The
Excel panels and other curtain
wall products are included in an
eight-page brochure. Tajima.
Circle 141 on reader service card

Interlocking concrete stones
provide sealed joints without the
use of mortar or other adhesive
in this facade system developed
in Sweden. The stones, which
are four inches high and two
feet long, can be suspended from
aluminum hangers attached to
building walls. They are easily
cut with a masonry saw and come
in seven colors. Coloroc USA.
Circle 142 on reader service card

The Dimension Series curtain
wall system can incorporate two-
inch Foamwall, aluminum, or
three-centimeter granite span-
drels within the same basic struc-
ture. This flexibility permits late
changes in spandrel material
and also facilitates the combina-
tion of different materials on the
same facade. E.G. Smith, Inc.
Circle 143 on reader service card

Seven glass curtain wall systems
are described and illustrated ina
12-page brochure. Each system
is tailored for low-rise, mid-rise,
or high-rise structures. The
brochure offers detail drawings,
color photographs, and sample
specifications. Amarlite Archi-
tectural Products.

Circle 221 on reader service card

The Aurora Matrix finish sys-
tem can be used in curtain wall
assemblies to simulate granite or
marble. The three-part system
involves a base coat of colored
matrix, a spray of colored aggre-
gate, and an acrylic sealer that
produces a monolithic surface.
The system can be prefabricated
or applied on site. Senergy, Inc.

Circle 144 on reader service card

Engineered Curtain Walls
and
Window

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Curtain walls, window walls,
and ribbon windows are fea-
tured in this 12-page company
brochure. Detail drawings and
photographs describe the avail-
able systems and illustrate their
use on а ‘case study” basis. The
booklet includes sample specifi-
cations. Vistawall Architectural
Products.

Circle 222 on reader service card

Curtainwall Screw Stud Fram-
ing systems are detailed in a 12-
page technical bulletin. The
booklet includes specifications,
detail drawings, maximum span
height tables, and data on insula-
tion values. Also discussed is the
COM-X exterior insulation sys-
tem. Gold Bond.

Circle 223 on reader service card

(See Technics, Curtain Wall
Cautions, p. 114)

Put forty years of experience in
custom curtainwall solutions to
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The Horizon system combines
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at Cupples (314) 781-6729.

Circle No. 322 on Reader Service Card

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Progressive Architecture 6:88

119

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Progressive Architecture 6:88 121R

BOOKSTORE

Order Information

To receive books, circle appropri-
ate numbers on the Reader Service
Card in the back of this issue. Pay-
ment must accompany orders
being shipped to Р.О. Box num-
bers. Please allow 6-8 weeks deliv-
ery. Prices subject to change.
Orders good only for U.S.
addresses.

Send the card in an
envelope to:

Paul McKenna
Progressive Architecture
Р.О. Box 1361

Stamford, CT 06901

P/A Back Issues

A limited supply of the following
issues are available at $7.00 a copy.
Check MUST accompany order!

May
Som/Nouvel/Vitra/University of
California/Office Chair

April
Preservation / Rehabilitation
Computers

March

New Urban Design/Gwathmey
Siegel/Andrée Putman/Back
Offices/Glass

February
Two Portland Award Winners/Pelli/
Sartogo/Graves/Wood Framing

January
35th Annual P/A Awards

October
Charles Moore/Japan/Uses
of Stone

September
Interior Design/Outdoor Lighting

July

Special Issue: Paris/Uses of Steel

122 Progressive Architecture 6:88

FRANK WOODS & JOHN POWELL

1 Adding On, An Artful Guide
to Affordable Residential
Additions

by Duo Dickinson, 177pp., illus.
($39.50)

This book offers a multitude of
ideas to help both architect and
homeowner. Rejecting the inevita-
bility of standardized design solu-
tions, the author proves that the
thought and care of good design
can create unique, effective and
beautiful improvements that meet
today’s needs.

Circle B601 under Books

STRUCTURAL
DETAILS FOR

INSTRUCTION

DESIGN SIMULA

TION

Michael Forsyth

2 Structural Details For
Concrete, Steel, Masonry,
and Wood Construction

by M. Newman, illus. ($22.50
each—except Masonry book,
which is $19.50)

This four-part series provides a
variety of details for the four pri-
mary construction materials. The
workbook format makes it a handy
reference in the office or at the job-
site. All material has been updated
to reflect recent code changes.
Concrete Circle B602 under Books
Steel Circle B603 under Books

Masonry Circle B604 under Books
Wood Circle B605 under Books

3 Daylighting Design &
Analysis

by С. Robbins, 877pp., illus.
($84.95)

This book looks at how daylighting
can be integrated with the build-
ing design process, from initial
concept to the final design. The
book includes for reference

18 appendices providing the
data necessary for analyzing day-
light and energy performance
of buildings.

Circle B606 under Books

4 Architectural Detailing In
Contract Interiors

by W. Staebler, 256pp.., illus.
($49.95)

This book is a compilation of
exemplary details in commercial
and public buildings done by lead-
ing architects and designers. Each
detail drawing is accompanied
with information on its design
process, materials, and integration
into the total design scheme.
ALL ORDERS MUST BE PREPAID
Circle B607 under Books

CLAUDE L ROBBINS

DAYLIGH TING :

DESIGNS ANALYSIS

5 Overlay Drafting

by Frank Woods & John Powell,
102pp., illus.

($15.95)

This book presents a time-saving
method for doing working
drawings.

The technique and definition of
overlay drafting are explained,
followed by a detailed look at the
equipment, techniques, and the
equipment required, The reader
is given step-by-step guidance on
introducing the system into an
architectural office.

Circle B608 under Books

6 Design Simulation

by E. Burden, 232pp., illus.
($24.95) Learn how to use CAD
and advanced photography
methods to create two- and three-
dimensional presentations at low
cost. The book is based on actual
projects and shows applications
of traditional simulation methods
as well as all new technologies
from computer models to
photogrammetry.

ALL ORDERS MUST BE PREPAID
Circle B609 under Books

7 Auditoria

by M. Forsyth, 212pp., illus.
($49.95)

The book is intended for design
professionals involved with per-
forming arts facilities. It provides
the reader with a concise introduc-
tion to techniques used in design-
ing auditoria and updates him
with numerous changes affecting
auditoria design during the past
decade. Design solutions are dis-
cussed for facilities ranging from
multi-use to special purpose halls.
Circle B610 under Books

8 Structural Systems

by H.J. Cowan & F. Wilson, 256
pp. illus ($19.95)

This comprehensive guide to pre-
liminary structural design uses a
minimum of mathematics and
numerous illustrations to describe
structural forms and their mathe-
matics. A strong emphasis on
graphic presentation and an
instant-access reference to struc-
tural design.

Circle B608 under Books

9 The Small House, an

Artful Guide to Affordable
Residential Design

by Duo Dickinson, I96pp., illus.
($34.95)

This handsome work features
houses representing all regions of
the U.S. and includes examples of
primary and vacation or second
homes. The designs prove sinall
houses can be built to accommo-
date a variety of sites, budgets.
family size and aesthetic
sensibilities.

Circle B609 under Books

10 Italian Gardens of the
Renaissance

by J.C. Shepherd & С.А. Jellicoe,
144pp., illus. ($45.00)

Originally written in 1925, this
book still stands today as the classic
work. It traces the evolution and
development of Italian garden
design from the early Renaissance
work of Michellozzi, Bramante and
Rossellino. Twenty-six of the finest
and most important Italian villas
are featured, each with plans and
principal elevations.

Circle B610 under Books

^is ; 7
pu for Interior Designers

Áo M

11 Frank Lloyd Wright to 1910
by Grant Carpenter Manson,
238pp.. illus. ($22.95)

A guide to Frank Lloyd Wrights
life upto I910—the decisive turn-
ing point in his carcer. Depicts his
childhood aud family influences,

his scanty formal training, and the
beginnings of his architectural
work under Lyman Silsbee and
Louis Sullivan. Photographs,
drawings and plans included.
Circle B611 under Books

12 The New Atrium

by Michael J. Bednar, АТА,
238pp., illus. ($40.00)

This book covers the new atriuin
thoroughly and in detail—trom its
historic and contemporary evolu-
tion to its role in urban planning,
architectural design, and historic
preservation. An authoritative ref-
erence guide and an invaluable
source of inspiration, it provides
timely information to help to con-
ceptualize, design and execute a
successful atrium building.

Circle B612under Books

13 Perspective For Interior
Designers

by John Pile, 160pp., illus. ($24.95)
Learn to draw interior peispectives
through the use of a basic forinula.
The author offers an easily accessi-
ble and quickly learned method
that will serve every designer's
drawing needs. Step-by-step dem-
onstrations, analyses of constructed
layouts, and illustrations of com-
pleted works make this book a
complete and accurate guide.

Circle B613 under Books

ALL ORDERS MUST BE PREPAID

ПАПАМ GARDENS
RENAISSANCI

ARCHITECTURAL RENDERING |
TECHNIQUES A COLOR REFERENCE B

14 Architectural Rendering
Techniques: A Color Reference
by Mike W. Lin, AIA, 253pp., illus.
($43.95)

All major types of architectural
drawings fill this comprehensive
guide to rendering media, styles
and execution times. Examples dis-
played can be traced or studied to
improve technique and generate
new ideas. Architects and design-
ers at all levels of expertise can
improve their graphic and archi-
tectural rendering by following the
presented methods.

Circle B614 under Books

Progressive Architecture 6:88 123

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Circle No. 358 on Reader Service Card

BUILDING A NATIONAL IMAGE:
ARCHITECTURAL DRAWINGS FOR THE AMERICAN DEMOCRACY, 1789-1912

The Spirit of H. 1 1
on the Midland Prairi

Books

Federal Building

How does a building embody the
noblest aspirations of a young
country? What visual forms ex-
press the pursuit of life, liberty,
and happiness? These questions
have confounded some of
America’s most prominent archi-
tects since Pierre L'Enfant de-
signed the Federal Hall for the
meeting of the First National
Congress in 1788, and Building a
National Image: Architectural
Drawings for an American Democ-
racy documents that struggle.

Published as the catalog for
the premiere show of the Na-
tional Building Museum in
Washington, D.C., this book
contains an introductory essay
by architectural historian Bates
Lowry, and 107 color and many
black-and-white plates of origi-
nal drawings for the buildings
erected by the Federal Govern-
ment from the period between
1789 and 1912. We see submis-
sions to architectural competi-
tions, presentation drawings,
working drawings, and “napkin”
sketches. Together they lay out
the seemingly infinite stages of
the design for the U.S. Capitol
and the Library of Congress,
and give views of final schemes
for an array of Federal projects,
including the White House (orig-
inally referred to as the “Presi-
dent's Palace”), the Treasury
Building, and the Patent Office
Building. T he book also contains
drawings for the numerous proj-
ects that receive little or no atten-
tion in the standard architectural
histories: The post offices, cus-
tom houses, and courthouses
that seem relentless backdrops
to any trip through the Ameri-
can landscape.

What these drawings show is
that, as in politics, so also in ar-
chitecture: Our national dream
is not, and never was, one vision
but the continuous intersection
of wildly differing visions, with
results sometimes fortuitous and
sometimes not. In the plan for
Washington, D.C., for example,
we see the desires of the found-
ing fathers meeting those of
architect Pierre L'Enfant, the
(continued on next page)

Building a National Image: Ar-

chitectural Drawings for the
American Democracy, 1789—
1912, by Bates Lowry, edited by
Irene Gordon. Penshurst Press,
Ltd., Great Britain, 1985; under-
written by United Technologies.
228 pp., illus., $75.00; paperback,
$45.00.

A Plains Legacy

By examining the work of a
number of Plains architects, the
six authors who contributed es-
says to The Spirit of H.H. Rich-
ardson on the Midland Prairies
seek to continue revising the
Modernist assessment of
Richardson's legacy. Editor Paul
Clifford Larson takes issue with
what he calls Modernism's
"anointment (of Richardson) as
a precursor of modernism." The
book demonstrates, through
diverse essays and a wealth of
illustrations, that Richardson
was at least as important, and
probably more so, for his innova-
tions in late Victoriana as he was
for his contributions to the birth
of Modernism.

In explaining the rise of
Richardsonian architecture on
the Plains from the 1880s to the
turn of the century, the essays—
especially Richard Longstreth's
on Richardsonian work in Kan-
sas and Judith Martin's on the
prairie city—emphasize the
suitability of the style for the
expression of optimistic urban
aspirations. They demonstrate
how architects from Minnesota
to Texas borrowed from Rich-
ardson, whether blatantly, as
in the Minneapolis City Hall, or
slightly, as in the many Rich-
ardsonian details that were
grafted onto buildings of other
styles. In either case, the motive
seems to have been to establish a
sense of monumentality and
permanence in a new land.

Besides the above-mentioned
essays, the book includes a dis-
cussion of Richardson's influ-
ence on Chicago by Thomas J.
Schlereth, a survey by Kenneth
Breisch of the many Richardso-
nian courthouses and public
buildings of Texas (where the
style often took on a Hispanic
tone), and a study of the natural
resources of the region—the
various clays and stones that
made the Richardsonian style
possible—by John C. Hudson.

The publication of the book
coincides with a recent exhibition
at the University of Minnesota
Art Museum.

Mark Alden Branch m

The Spirit of H.H. Richardson

on the Midland Prairies, Paul
Clifford Larson, editor. Ames,
Iowa, Iowa State U. Press, 1988.
174 pp., illus., $24.95 paper.

Photographing Buildings In-
side and Out by Norman
McGrath. New York, Whitney,
1987. 176 pp., illus., $32.50.
McGrath, a noted architec-
tural photographer, teaches
through examples of his own
work in this book. His reada-
ble prose includes informa-
tion on equipment, lighting,
and special situations.

The Architectural Index for
1987 ed. by Ervin J. Bell. Boul-
der, Colo., The Architectural
Index, annual. 118 pp.,
$19.00.

1987 marks the 38th year of
publication for this helpful
guide to the architectural
press. The year’s editorial
content for ten major architec-
ture and interiors magazines
is listed by architect, building
type, subject, and location.

A New Theory of Urban De-
sign by Christopher Alexan-
der, Hajo Neis, Artemis An-
ninou, Ingrid King. New York,
Oxford Press, 1987. 251 pp.,
illus., $39.95.

The authors offer seven rules
meant to define “wholeness”
in cities, and document a
graduate-school project in
which the rules were applied.

Encyclopedia of Architecture,
vol. 1 ed. by Joseph A. Wilkes.
New York, Wiley & Sons,
1988. 748 pp., illus., $200.00.
Volume 1 (Aalto to Concrete)
of this ambitious reference
work includes articles on his-
tory, technics, and design їп а
language suited both to pro-
fessionals and to the general
public. The four remaining
volumes will be released over
the next year.

Security by Neil Cumming.
New York, Van Nostrand
Reinhold, 1987. 413 pp., illus.,
$103.95 paper.

Another of the consistently
informative technical books
from Britain's Architectural
Press, Security includes a
step-by-step guide to security
systems and a detailed look
at system components.

Progressive Architecture 6:88

125

126

BOOKS

(continued from page 125)

former wanting a plan for the
Capitol City that symbolized the
democratic aspirations of the
young country, and the latter
delivering a scheme that came
directly out of the theories de-
veloped to celebrate the monar-
chy in France. Not only does
L’Enfant’s plan, a network of
broad avenues cutting diagonally
through a grid of streets, recall
the designs of Versailles and the
Place de la Concorde, but his
idea for 15 squares (one desig-
nated for every state and each
embellished with monumental
public sculpture such as statues,
columns, or obelisks) probably
responded to a suggestion made
by the Abbe Laugier for Paris in
his Essai Sur L'Architecture.

By tracing the symbolic in-
terpretations of the L’Enfant
plan, Lowry suggests that its
success (insofar as it was com-
pleted) is due far less to its em-
bodiment of the aspirations of
any of its progenitors, but to the
flexibility of its form, which has
encouraged successive genera-
tions of viewers to adopt it as
expressive of their own needs.
In 1795, the symbolism was polit-
ical, as one writer interpreted
the city’s diagonal avenues as
luminous rays shining from the
Capitol to all parts of America,
“signaling that Congress will
always be informed about the
true interests of the nation.” In
1859, the symbolism was histori-
cal, each avenue representing
one of the original 13 states with

Pennsylvania Avenue “the key-
stone in the arch.”

Equally important was the
design for the U.S. Capitol,
which was to be, in the words of
Thomas Jefferson, “the finest
temple dedicated to the
sovereignty of the people, em-
bellishing with Athenian taste
the course of a nation looking
far beyond the range of Athe-
nian destinies.” Its endless rede-
signing is illustrated here in copi-
ous detail. The building was
worked on from 1790 to 1828,
and the story of its construction
reveals why it remains a series of
unusually disjunctive incidents,
sometimes brilliant, sometimes
run-of-the-mill. During those
years, most of the nation’s major
architects had a hand in its de-

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sign, and we see here the tenta-
tive, unprofessional drawings of
Stephen Hallet and William
Thornton (the two original de-
signers), behind which Lowry
claims lay the ideas of Thomas
Jefferson and L'Enfant. We see
as well the understated idealism
of Benjamin Latrobe and
Charles Bulfinch, working in the
sparse Neoclassicism then popu-
lar, but also in fear of excessive
grandeur. Lowry quotes one
congressman who in 1824 voiced
a concern that has become a
constant in the history of Ameri-
can public building: “Of all gov-
ernments a republic ought to
appear with sober pomp and
modest splendor. Not the daz-
zling radiance of a throne is here
reflected, but the mild lustre, the
serene majesty of the sovereign
people.”

When the Capitol was com-
pleted in 1828 it seemed that
serenity had won out a little too
forcefully over majesty, and the
designs for remodeling and ex-
pansion in the mid-19th Century
by Robert Mills and Thomas U.
Walter show increased pomp—
not to mention increased scale—
in every direction. Real dis-
coveries here are the drawings
of Thomas Walter’s draftsman,
Auguste Schoenborn, which
display incredible control, un-
usual sensitivity to color and
light, and a delight in conceptual
tricks. On one drawing showing
the construction of a number of
cast-iron pieces, a detail is de-
picted as if it were on a separate
piece of paper laid atop the main
drawing. On another, an ink and
watercolor drawing for the in-
terior of the Senate Chamber,
Schoenborn sketches in pencil
the feet of a niched figure that
are masked by the penultimate
row of seats.

Thomas U. Walter also de-
signed the dome we see today.
Throughout the history of the
Capitol, the dome was recog-
nized as the premier symbol of
the American republic, and it
was obsessively reworked: From
Stephen Hallet to Thomas Wal-
ter, we see colonnaded domes,
low-pitched domes, and gold
domes. Although most of the
designs are more in keeping
with the building underneath it
than Walter’s shrill, high-pitched
rotunda, his design has served
well as a national symbol. An
1898 observer wrote: “None
tread beneath this matchless
dome, but feel the pride of coun-
try in the thrill of patriotic fervor
... Nowhere upon the earth's
surface can its proportionate
and stately grandeur be
equalled."

(continued on page 129)

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Circle No. 371 on Reader Service Card

Progressive Architecture 6:88

127

The Conde House collection includes

* Sp À T+ С

chairs and tables, for contract and residential use, designed for us by architects and designers
from the East and the West.

M me б

It is a diverse collection with a common focus

on fine design, craftsmanship and exceptional wood finishes.

Mm Pie ДЕ

Call your nearest Conde House representative
for more information.

Circle No. 381

Conde House 200 Kansas Street #225
San Francisco CA 94103 Telephone 415 864 8666
Birmingham, М1: 313 646 0097. Boston: 617 268 5020. Charlotte, N.C: 704.365 3500. Dallas: 214698 9296.
Houston: 713 9619220. Los Angeles: 213 652 7090. New York: 212 753 8906.
St. Louis: 314 2413324. Smithfield, N.C: 919 934 3773.

BOOKS

(continued from page 126)

These earliest projects for
America’s monumental Federal
architecture were idealistic and
symbolic. As a government ex-
panded and the need for the
occasional icon was overrun by
the steady demand for post of-
fices, custom houses, and
courthouses, Federal building
became business as usual. In
part because of this need to pro-
duce so much (35 buildings were
erected in one year, 1855—56)
and in part because stylistic fash-
ion tended toward the historicist,
the search for forms that would
embody universal values was lost
in a whorl of individualizing
eclecticism. In this period, we
see the beginnings of a new stage
of mass production in architec-
ture, with chief architect of the
Construction Branch of the
Treasury Ammi B. Young re-
peating some of his Italian
Renaissance palazzo designs as
many as ten times, changing
only the details.

This development had an im-
portant impact on the represen-
tation of architecture in these
drawings. As details were in-
creasingly drawn in the main
office to be executed on site,
they, rather than the buildings
themselves, often became the
architect's primary means of
self-expression. Building an
Image shows wood, plaster, and
cast-iron ornaments painstak-
ingly drawn with pencil, ink,
wash, and watercolor. The in-
terest in pictorial presentation is
striking, especially in the draw-
ings of Alfred B. Mullet and
William A. Freret: Scales are
enlarged, perspectives flattened,
and contrary details arranged
into dynamic patterns.

Idealizing visions for Federal
architecture were reinstated with
the City Beautiful movement,
and in addition to Daniel Burn-
ham's famous MacMillan Com-
mission plan we see a series of
outrageous proposals by, of all
people, John Russell Pope for
the Lincoln Memorial. These
seven drawings, for ziggurats,
pyramids, funeral pyres, and
stark, blank colonnades not only
show that Pope had a little
Ledoux in him, but also point to
one of the major flaws in the
book. Why is the Federal archi-
tecture that we see so often con-
ventional, flat, and outdated? It
is a question Lowry, in his en-
thusiasm, never asks, although
he answers it inadvertently.
Building commissions are
granted and retracted by the
way the political winds blow. So
many politicians are involved in
the design of any major building
that it is nearly impossible to end

up with anything but dishwater.
(Indeed, it is a miracle that the
U.S. Capitol looks as good as it
does judging from the story we
read here.) Lowry neglects to tell
the very revealing story told by
William Pierson in American
Buildings and Their Architects of
how Robert Mills, having at-
tempted some structural innova-
tions in his Treasury Building,
faced the prospect of its demoli-
tion before completion because
several senators became con-
vinced that it would not stand
up. Politics aside, there also is
something intrinsically conserva-
tivein monumental architecture.
It is this conservatism inherent
in the design of any public proj-
ect, combined with an ingrained
national ambivalence about
celebrating grandly in an atmos-
phere of democracy, that makes
most savants groan when the
topic of Federal architecture is
broached. But Building the Na-
tional Dream shows that in addi-
tion to the Federal architecture
in our various cities and towns,
America has a tradition of silent
monuments, works on paper
expressing visions built.

Sarah Williams Ksiajek =

The author is a Ph.D. candidate in archi-
tectural history at Columbia University.

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Circle No. 354 on Reader Service Card

CME

Progressive Architecture 6:88

БИСИ СТ:

129

ALPOLIC

The Lightweight, Rigid, Bendable
Composite Material.

ALPOLIC combines beauty with superior flatness and
easy workability. Used for exterior sheathing, display
panels, sign boards, and other applications, it resists
weather and corrosion. Used for interior applications

such as displays, it will enhance the beauty of your
designs.

n? A

ALPOLIC is available in silver, light bronze and dark
bronze anodized and painted in a range of colors.

TheLightweight, Flexible, Unbreakable
Mirror For Exterior Use And Where
Humidity Is High.

Indoors and Outdoors, A-LOOK EX supplies the
reflective beauty of a mirror. You can bend it, cut it
and hang it. It's ideal for store fronts, eaves, entrance
areas and signs as well as for any variety of indoor
applications including spas, bathrooms and other
areas subject to humidity. The fluoride resin surface
of A-LOOK EX provides outstanding weatherability
and resistance to humidity.

i MT

al |!

MITSUBISHI CHEMICAL INDUSTRIES
AMERICA INC. (MCIA)

100 Wade Avenue, South Plainfield, NJ 07080.

Phone: 201-757-6900/800-422-7270/FAX: 201-757-6690

Circle No. 350 on Reader Service Card

hnics-Related Prod
New Products 118 Technics Related Product

continued

and Literature

Designing with Dryvit is a two-
volume encyclopedia of design
resources that contains technical
information to facilitate the
selection, design, detailing, and
specification of exterior insula-
tion and finish systems. The in-
formation is also available on а
disk for use with AutoCAD,
which is supplied as part of the
two-volume set. Dryvit.

Circle 200 on reader service card

The Velux 4 chair from Morso's
Dinamic Collection innovatively
combines wood, metal, wicker,
and leather. Bolognese architect
Massimo losa-Ghini designed
the collection to reflect the
Bolidismo movement's influence
on design. Curvilinear, stream-
lined shapes accentuate the 16
tables, chairs, and upholstered
pieces that make up the collec-
tion. Palazzetti.

Circle 101 on reader service card

Architectural Lighting Solu-
tions catalog illustrates ideas for
illuminating parking and land- The Sally 1987 side table de-

scape areas, building facades, signed by Shiro Kuramata rests
and security and exit signage. on casters and stands 29/2 inches
This hard-back book also ad- high. The metal and glass table is
dresses low-level lighting needs part of the Memphis Milano?"
and contains registration cards collection introduced at the

for architects and specifiers to Milan furniture fair. Artemide.

place themselves on mailing lists Circle 100 on reader service card
for up-to-date product an-
nouncements. Devine Lighting.

Circle 201 on reader service card

Progressive Architecture 6:88 131

NEW PRODUCTS AND

The Triangle Series of frost-
proof, commercial-grade tiles
features labor-saving precut
triangles with matching 10” x 10”
field tiles and trim. Color choices
include black, white, blue, gray,
and rose. United Ceramic Tile.

Circle 102 on reader service card

Gypsum wallboard drywall
products are described in a 52-
page, full-color construction
bulletin, whose technical sections
detail product characteristics,
code approvals, fire/sound rat-
ings, application instructions,
and architectural specifications.
Gold Bond Building Products.

Circle 202 on reader service card

Vertical atrium applications
can make use of the 2800
Trusswall Framing System,
featuring rounded vertical ex-
trusions connected with 16-inch-
thick aluminum webs. Spaced
up to two feet on center, the
webs are machine welded to the
two extrusions, which form a
front and rear chord. Kawneer

Company.

Circle 103 on reader service card

A high performance self-con-
tained camera system, the
VC1000 measures only six inches
in diameter and 26.5 inches in
length. A pressurized seamless
aluminum tube houses a one-
inch black and white camera that
can be used in situations where
lighting varies from extremely
dim artificial illumination to
bright sunlight. Vicon Ind.

Circle 104 on reader service card

BEC open-cell ceiling tiles of
Ultra-Light concrete offer natu-
ral texture, easy installation, and
a wide range of shapes and colors
for interiors and exteriors. Ceil-
ing system panels are three-di-
mensional and range from two
to four inches in depth. Architec-
tural Surfaces, Inc.

Circle 105 on reader service card

132 Progressive Architecture 6:88

LITERATURE

Kinetics floating floor noise
control systems for liftslab,
wood, and impact floors achieve
extremely low sound transmis-
sion by resiliently decoupling
the airborne noise, impact, or
vibratory source from the build-
ing structure. À 12-page bro-
chure details these systems as
well as the company’s capabilities
in ceiling and partition noise
control products. Peabody Noise
Control, Inc.

Circle 203 on reader service card

Omega System III consists of
1-inch-thick wall panels with a
foam core. Panels are trimmed
and sealed at the factory, elim-
inating the need to cut and fit
moldings at the job site.
Laminators Incorporated.

Circle 106 on reader service card

This modular lighting system
from Litech, System 133, pro-
vides multiple circuit lensed,
baffled, or parabolic diffused
fluorescent lighting. Finish col-
ors include black, red, Chinese-
lacquer red, and clear anodized.
Track lighting and embedded
halogen lighting are also avail-
able. Artemide.

Circle 107 on reader service card

CRYSTALENE cotton fiber
tracing paper, transparentized
with a high-grade mobile syn-
thetic, enhances reproduction
because graphite does not pene-
trate its fibers. Repeated erasing
and redrawing poses no risk of
ghosting. Keuffel & Esser Co.

Circle 108 on reader service card

Modular Furniture Systems are
a new line introduced by Harden
Contract. The Executive Return
Desk features a central locking
system and center pull-out dic-
tating slide. One pull-out writing
table, two box drawers, апа а
bottom file drawer compose the
desk pedestal. Thirty-inch-high
beveled glass door units with

task lighting are offered on the
modular hutch system. Harden
Contract.

Circle 109 on reader service card

A new CAD Scanning System
offers automatic dimensioning/
scaling, multiple layers and col-
ors, dynamic text entry, and the
ability to create user-defined
symbols. Auto-Scan Systems.

Circle 110 on reader service card

POLY-MAR HD solid plastic
partitions for schools and public
restrooms are described in two
brochures that answer questions
about product performance in
lavatory environments. Santana
Products Co.

Circle 204 on reader service card

Six tiny MR-11 display lighting
lamps will be added to the Pre-
cise line of MR-16 lamps. The
MR-11s will be available in nar-
row spot, spot, and narrow flood
beam patterns in 20- and 35-watt
ratings, all with maximum di-
ameters and lengths of 35 mm.
General Electric Company.

Circle 111 on reader service card

Glass rods and tubes with con-
vex and concave profiles offer
interesting optical features for
lighting and decorative uses.
Available as a soda lime or
borosilicate glass, Conturax
comes in standard 59-inch
lengths and in various diameter
profiles. Schott America.

Circle 112 on reader service card

Nylon push-pull handles are

designed for heavy-duty use in
schools, gymnasiums, hospitals,
and shopping malls. Hiawatha.

Circle 113 on reader service card

Wall-hung refrigerated drink-
ing fountains, which meet Public
Law 90-480 specifications for
wheelchair accessibility, are
budget-priced and easy to install.
Sunroc Corporation.

Circle 114 on reader service card

Ornamental handrails in wood,
glass, aluminum, brass, and
stainless steel are detailed in a
brochure on the firm's Econo-
Rail products. Newman Broth-
ers, Inc.

Circle 205 on reader service card

AAES publications, reports,
and reference works are listed
in an up-to-date brochure avail-
able at no cost. American Associ-
ation of Engineering Societies.

Circle 206 on reader service card

Modular carpet systems in both
cut and loop pile construction
are offered in a variety of de-
signs. Ground colors include
solids, multicolors, and heather
effects. The carpet tiles come in
either 18- or 24-inch squares,
and there is a choice of three
backing systems. Lees Commer-
cial Carpet Company.

Circle 115 on reader service card

Two corner shower door units,
the "corner entry" and the “neo-
angle," conserve space and are
decorative and economical. Kin-
kead Division, USG Industries.

Circle 116 on reader service card

Powerbond technology affixes
soft surface flooring to solid vinyl
to make Pro-Fitness, a new
aerobic floor covering made
from Timbrelle nylon, by ICI
Fibres. The benefits include
sound control, resiliency, easy
maintenance, safety, and resist-
ance to odor and mildew. A
range of 24 colors is offered for
application in health clubs,
shower and locker rooms, gym-
nasiums, and sports facilities.
Collins & Aikman.

Circle 117 on reader service card

(continued on page 134)

Rambusch creates with stained glass, metal, wood, gold leaf,
crystal, fabric, paint, lighting. . .and — ai skill.

тт zi T

J——————
22 EE AA

CITRUS тїт NJ

CROCKER MUSEUM, OH N

Rambusch restores, conserves and creates. Rambusch rebuilds, relights, paints and refinishes. Rambusch
designs that which is original...or executes that which has been designed. For over 90 years, Rambusch
has helped to preserve our cultural history, while adding its own distinctive chapters...by enhancing a
treasured landmark, lighting a theatre, decorating a palatial new hotel, executing a stained glass window
or helping to create an environment. Highly skilled designers, technicians and artisans contribute their
expertise to recapture a past glory...or to create that which is new. It is a process sustained by an
incomparable reputation for excellence...and four generations dedicated to the integration of architecture,

design and engineering.

40 West 13th Street, New York, М.Ү. 10011 (212)675-0400

Circle No. 361 on Reader Service Card

NEW PRODUCTS AND

(continued from page 132)

The PETAL armchair in
genuine leather is welted and
designed with a pieced cover
effect and a slight fluting in the
arm. It measures 28 inches wide,
28 inches deep, and 32 inches
high. Reynolds Design Group.

Circle 118 on reader service card

Dynamic entrance areas can be
created with the Entara system
of coordinated components,
including aluminum extrusions,
framing members, rails, sub-as-
semblies, stiles, and hardware. A
brochure details the system and
the company’s capabilities. Kaw-
neer Company, Inc.

Circle 207 on reader service card

LITERATURE

Exterior wood panel and lap
sidings are described in an eight-
page brochure that explains the
association's new performance
standards for these products.
American Plywood Association.
Circle 208 on reader service card

Foamular extruded polystyrene
insulation and related products
in tapered roofing systems are
described in a six-page brochure
highlighting two sloped roofs.
UC Industries, Inc.

Circle 209 on reader service card

The Suspended Ceiling Module
is a lightweight seamless, molded
fiberglass panel available in three
sizes and three corner shapes

to fit standard ceiling grids.
Graphics may be non-illumi-
nated or internally illuminated
with either permanent or
changeable messages. No addi-
tional ceiling support is required.
Partial downlighting is optional.
Apco.

Circle 119 on reader service card

Electric signs for retail outlets
and other outdoor advertising
are the subject of a six-page
brochure which covers sign ma-
terial, extrusions, and sign-face
vinyl. Cooley Sign Systems, Inc.

Circle 210 on reader service card

A screw fastener for stucco-like
wall systems is bottom-beveled
and made of DELRIN instead of
polystyrene to resist cupping.
The universal fastener is applica-
ble for metal, wood, and ma-
sonry. Pleko Products, Inc.

Circle 120 on reader service card

The Building Systems Automa-
tion Manual, designed to help
building system designers,
operators, owners, and manag-
ers, has 15 chapters grouped
into two subject categories. Part
1 presents an overview of build-
ing automation from a man-
agement perspective. Part 2
concentrates on the technical
fundamentals of a building auto-
mation system. Individual chap-
ters or the entire manual can be
ordered. The Trane Company.

Circle 211 on reader service card

Two 60-page catalogs describe
the complete line of Pella® win-
dows, doors, and sloped glazing
systems for home and commer-
cial building. The catalogs intro-

For the architect

who hates to wait.

Dataprint has thousands of brand name drafting

supplies at 20-50% off — ready for same day shipment. ion
Call us by 2 PM, we'll ship your order by 5 PM the same day!

We carry the top quality items you want in stock, at

duce the new Pella Outswing
Traditional French doors and
expanded circlehead window
offerings. Rolscreen Company.

Circle 212 on reader service card

: ^
, инее

7
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Уа |

|
„^^^^°^^

Tegusol clay roof tiles have а
double interlocking design that
gives the tile proven weather
protection against wind, rain,
sleet, or snow. The S-shaped
Mediterranean tile passes
through 25 cycles of freeze-thaw
testing, assuring resistance to
moisture absorption and crack-
ing. Stock colors include south-
ern and antique red. Terra
Cotta, antique Terra Cotta, sand,
and brown may be custom or-
dered. Supradur.

Circle 121 on reader service card

(continued on page 136)

discount prices, with guaranteed satisfaction. So if you're
an architect who hates to wait, call Dataprint today.
FREE CATALOG ON REQUEST.

DATAPRI

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Corporate Office: 700 S. Claremont St., P.O. Box 5910, San Mateo, СА 94402. Distribution Centers located throughout the U.S

Circle No. 386 on Reader Service Card
134 Progressive Architecture 6:88

ur collection of 36 gracefully sculptured pieces of indoor/outdoor
furniture, inspired by designs found at a turn-of-the-century
estate in Maine, is built by skilled craftsmen using yacht joinery and
KX A TT“ AFI ту к тшу” line furniture techniques with
EATHEHREN the best materials: clear or
ESTAT RREMAN RE painted Honduras mahogany
or bare Burmese teak.

Fe our portfolio, write or call: Weatherend® Estate Furniture
P.O. BOX 648, Dept. PA, Rockland, ME 04841: 207-596-6483.

We'll give you
6/2 d

in Suffolk County, Long Island, New York
Why?
As a location to design a unique and lasting

memorial to all Vietnam veterans. This is an open
competition with a top award of $15,000.

Can you transform 6/2 acres into a memorial mat
will last for generations to come? If the answer is
yes, write for details today.

Fact Sheet e Suffolk County Vietnam
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Memorial Commission

Circle No. 385 on Reader Service Card

For additional infor-
C) mation about any
product or service
featured, please cir-
cle the appropriate
reader service num-
ber on the postage-

free card at the back
of the magazine.

NOIIVWUOJXNI

136 Progressive Architecture 6:88

NEW PRODUCTS AND

(continued from page 134)

Water sculptures and landscape
elements enhance public and
commercial environments. De-
signs include calm reflecting
pools, computer-controlled bow-
ing archways, and fire fountains,
an interaction of sound, fire, and
water. Underwater light fixtures
illuminate without hot spots or
conspicuous hardware. Water
Entertainment Technologies.

Circle 122 on reader service card

The OADC Intelligent Image
Scanner converts text or
graphics into binary code for
processing by several IBM, IBM-
compatible, and Apple Macin-
tosh personal computers. Micro-
systems International.

Circle 123 on reader service card

The 1500 S.T. (straight transi-
tion) is a complete sloped silicone
glazing system with a minimal
transition sightline. Recom-
mended for smaller installations
and remodeling applications, it
is flexible enough to handle end
walls and hip corners. Kawneer
Company, Inc.

Circle 124 on reader service card

A stacking guest chair, Fianco is
made from one piece of ply-
wood, cut and folded. The sim-
ple shape offers a comfortable
seat and arm position. Kaspa-
rians, Inc.

Circle 125 on reader service card

Cement roofing slates contain-
ing no asbestos meet ASTM E-
108 (83) requirements for Class
A usage. The rigid, fiber-rein-
forced, textured blue-black and
gray-green slates can also be
used for fascias, mansards, and
facades. Eternit Inc.

Circle 126 on reader service card

LITERATURE

Uses of plywood in large-scale
shelving are illustrated in a re-
vised guide covering panel
grades and specifications, design
criteria, fabrication, and finish-
ing techniques. American Ply-
wood Association.

Circle 213 on reader service card

Weather Perfect acrylic flat ex-
terior house paint is easier to
apply and has better masking
properties than in the past. Per-
formance of the improved prod-
uct is covered by a limited
six-year warranty. Sherwin-Wil-
liams Stores Group.

Circle 127 on reader service card

Diamond Weave vinyl wallcov-
ering has had 24 colors added to
the collection. Saturated jewel
tones, an extended range of
gray, and new neutrals comple-
ment the color selection offered
for these 54-inch fabrics. Genon.

Circle 128 on reader service card

The STOR-A-DOOR hinge per-
mits appliance doors to swing
open, then slide back into the
closet along side walls. The hard-
ware comes fully assembled on
plywood panels and needs only
to be fastened to closet walls.
Stor-A-Door Division, J&] Peter-
son Co.

Circle 129 on reader service card

Mero NK System, à patented
direct glazing space frame sys-
tem, is described and illustrated
in a new brochure. This system
eliminates the need for skylight
rafter or purlins, allowing the
acrylic glazing system to attach
directly to the outer chord of the
space-frame structure. Mero.
Circle 214 on reader service card

(continued on page 138)

TCS

and the
Corporate

Ediface

Procter & Gamble General Office
Cincinnati, Ohio

Architect: Kohn—Pedersen—
Fox Associates

New York, NY

Roofer: Imbus Roofing Company,
Cold Spring, KY

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PPG Place, Pittsburgh, PA
Architect: Johnson/Burgee
New York, NY
Roofer: Warren, Ehret-Linck

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Pittsburgh, PA

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There are many striking examples of how TCS
(terne-coated stainless) has become an integral
part of a total architectural concept...expressed
so beautifully as roofs on the Procter & Gamble
building and on the many roofs of PPG Place.
Weathering to a predictable warm, natural gray,
TCS blends quietly with the buildings’ architec-
tural expression.

Aesthetics aside, however, TCS has impressive
functional credentials. Among them are great
tensile strength combined with light weight,
exceptional resistance to corrosive environ-
ments, complete freedom from maintenance...
thereby promising a durability measured in
generations rather than years. We'll be happy to
send you substantiating evidence. Call us toll-

free 800-624-6906.

Circle No. 332 on Reader Service Card

FOLLANSBEE

FOLLANSBEE STEEL * FOLLANSBEE, WV 26037

Progressive Architecture 6:88 137

NEW

(continued from page 136)

PRODUCTS AND

Scandinavian saunas are de-
scribed in a full-color, 16-page
catalog. Installation photos show
saunas in bathrooms, exercise
rooms, and pool and garden
settings. Basic information
covers the history of the sauna,
how it works, and assembly in-
structions. Finnleo Saunas.

Circle 215 on reader service card

LITERATURE

Glassblock products in the De-
cora pattern and Essex AA pat-
tern with LX inserts are available
as standard rather than special-
order products. The LX inserts
are thin, fibrous glass sheets
fused in place when the two
halves of the glass block are
joined. They control glare and
solar heat gain. Pittsburgh Corn-
ing Corporation.

Circle 130 on reader service card

Hydraulic dock levelers save
space and are mounted under
the deck. A foot-operated latch
releases the ramp from the
stored position and settles it
against the truck bed. A pliable
lip can be extended to permit
end loading. The five-foot-long,
30,000-pound capacity units

| ; ij red by the Boston Chapter of the AIA, and funded by the

| ) Redevelopment Authority, the Commonwealth of Massachusetts,
| 4 ШЕЕ Foundation, and the Boston development community.

A è :

ONSE Жү

138 Progressive Architecture 6:88

come in six-foot widths as well as
six-foot six-inch and seven-foot
dimensions for serving wider
trailers. Rite Hite Corp.

Circle 131 on reader service card

The new Art Deco Collection,
adapted from the archives of
both Radio City Music Hall and
Schumacher, consists of woven

A National Design Competition

Architects, urban designers, artists,

and other visionaries throughout the US
are invited to design Boston’s future.

Circle No. 318 on Reader Service Card

* $50,000 in prizes

* nationally
renowned jury

* registration begins
July 15, 1988

For information
on registration
call or write:

Boston Visions

Boston Society of
Architects

305 Newbury Street
Boston, MA 02115
617.267.5175

and printed fabrics, wallcover-
ings, and floorcoverings. Charac-
teristic of the Collection is Rock-
ettes Border, a vinyl top-coated
wallcovering, based on a bronze
bas-relief under the Radio City
Music Hall marquee, that is avail-
able in brass or platinum. Schu-
macher.

Circle 132 on reader service card

The Bio Chair has a dual axis
back which adapts to each pos-
ture change without knobs or
controls. The cantilevered arms
allow unrestricted side-to-side
movement. Adjustments include
height and tilt tension control.
Six different chair types, includ-
ing matching side chairs, are
available. American Seating.

Circle 133 on reader service card

The Edo Collection, designed
by Kisho Kurokawa, recalls the
Edo period furniture with its
high-gloss lacquer finish. Matte
black or a combination of matte
black and aubergine may be
specified for this chair. Other
pieces feature a high-gloss lac-
quer finish. Casaform.

Circle 134 on reader service card

A modified cementitious wall
system, STO C-System is applied
in the same manner as the STO
synthetic systems. The ground
coat and finish coats supplied in
bag form require only the addi-
tion of water on the job site. The
C-System provides a rigid sur-
face without the need for expan-
sion joints. The rilled texture
finish is offered in eight colors.
STO Industries.

Circle 135 on reader service card

(continued on page 140)

Visible

Economy and high quality in а
black & white 24” Vidicon tube
for general monitoring.

High resolution
for monitoring
Clarity.

Difference

Ikegami's advanced technology and skill build responsive capacity
and performance into every one of its high quality black and
white video cameras. There's a reliable, economical Ikegami
camera designed and engineered to fulfill the requirements of
any monitoring application.
The easy-to-install ITC-410 featured above, for example,
with horizontal resolution of 650 lines or better. ALC of 100,000:1.
Automatic beam control for consistent operation, 2:1 interlace and
synchronization for compatibility with auxiliary TV equipment. A
low-light level version is available. Auto-iris is standard on all models.
There's an Ikegami ultra-miniature ICD-200 solid state chip
camera available. Shock- and vibration-resistant, it provides steady,
distortion-free performance even in strong magnetic or electrical
fields. The ICD-200 even resists sensor burn for long, operational
life. Also available in 24 volt AC, line-lock, phase-adjustable
configuration.

ITC-400

ICD-200/24

Ikegami Electronics (U.S. A.), Inc., 37 Brook Avenue, Maywood, NJ 07607
Southwest: (214) 869-2363

West Coast: (213) 534-0050 Midwest: (312) 834-9774

Em ITC-510

Need remote capability? consider the ITC-420 24" Vidicon
camera, which adds low-cost installation to economical price. A
single coaxial cable transmits both power and video signals. Auto-
matic beam control circuit assures consistent operation, while a
cable length compensation switch provides accurate control.

For excellent performance in a compact, lightweight unit, see
the ITC-400, with an ALC range of 20000:1. Plus auto-iris control.
Automatic beam control. DC and low-light level options. Vertical
phase-adjustable.

And for cost-savings on ultra-high sensitivity and high resolu-
tion, Ikegami offers the ITC-510 1-inch video camera. Featuring
resolution of 850 lines or better for magnificently clear images.
Rugged, heat-dissipating aluminum enclosure. Featuring line-lock
and genlock. Low-Light version available, too.

Examine the unique combination of value and performance
offered by each Ikegami video camera. And discover how Ikegami
capability makes a visible difference in every monitoring application.

(201) 368-9171
Southeast: (813) 884-2046 Hawaii: (808) 946-5955

Circle No. 342 on Reader Service Card

140

What is a Best Western?

western

INDEPENDENT
WORLDWIDE
LODGING

The right place at the right price.

INDEPENDENT
WORLDWIDE

Make reservations at any Best Western,
LODGING

see your travel agent, or call toll-free

1-800-528-1234

“World's largest chain of
independently owned
and operated
hotels, motor inns and resorts”

Circle No. 002 on Reader Service Card

HOW NATIONAL CAN TAKE A
OUT OF YOUR

PARTITIONING

AND WORKSTATION COSTS.

The Innerspace™ Concepts System with full or half glass and pre-hung
for office and workstation doors provide complete layout
partitioning and systems furniture is capability. A full line of affordable
designed for flexibility and economy. — wall-hung and stand-alone desks,
Sturdy 3" thick panels pedestals, storage units and
in heights to 120" accessories also available.

TÉ. CALL TOLL-FREE -
TOLEFREE Saw SET QUE
INTERIORS, INC.

340 W. 78TH RD., HIALEAH, FL 33014

Circle No. 003 on Reader Service Card

Progressive Architecture 6:88

Products (continued from page 138)

Architectural
guide ne
Сесо Door Divison teel Door
Сор Selection

Steel doors and frames are the
subjects of an eight-page catalog
which includes detailed specifica-
tions and details of the com-
pany's manufacturing and instal-
lation capabilities. Ceco Door
Division.

Circle 216 on reader service card

Batten roofing systems of alumi-
num, stainless steel, and copper
are featured in a metal roof,
spire, and steeple catalog de-
scribing the company's design,
fabrication, and installation ca-
pabilities. Overly Manufacturing
Co.

Circle 217 on reader service card

Ash & Trash receptacles of
fiberglass, steel, and stone for
hospitality and other contract
interiors are described in a
brochure highlighting nine new
marbles and granites for stone
sand urns. Peter Pepper Prod-
ucts.

Circle 218 on reader service card

The T-Star electronic touch
switch with Status Light indi-
cates on/off mode when lighting
fixtures are not visible. Lutron
Electronics Co.

Circle 136 on reader service card

A compact refrigerator/freezer
called the Hot 1 is for commer-
cial applications. It supplies up
to 15 pounds of ice per day and
has a 5.8-cubic-foot capacity.
Marvel Industries.

Circle 137 on reader service card

Plotter supplies, including pens
and media, are described in five
four-page brochures that stress
the system concept to plotting.
Bruning Division.

Circle 219 on reader service card

Standing seam metal roofs and
complete metal building systems
are described in a series of book-
lets designed to minimize
maintenance problems. Ameri-
can Iron & Steel Institute.

Circle 220 on reader service card

DU PONT SALUTES THE WINNERS ОЕ
THE 1988 ANTRON' DESIGN
AWARD COMPETITION

1LL3YDVH AAYHDIY ‘SOLOHd

GRAND PRIZE. Design Team: Phyllis Martin-Vegue, Lamberto Moris and Cindy
Kupka of Simon Martin-Vegue Winkelstein Moris, San Francisco. Client Site:
Packard Foundation. Carpet Mill: Patrick. Styles: Tradition, Heritage. Contract
Dealer: Conklin Brothers.

ING ACHIEVEMENT, PUBLIC SPACES OUTSTANDING ACHIEVEMENT, HEALTH CARE
CATEGORY. Design Team: Jane Garland Lucas, Janice Fanya CATEGORY. Design Team: Raymond F Stainback, Jack Plaxco,

Lewbin, and Edwin J. Steel of JGL Interiors in association with and Paula Stafford-Cloutier of Thompson, Ventulett, Stainback
Stahl Associates, Boston. Client Site: Boyd Corporation's and Associates, Inc., Atlanta. Client Site: Ronald McDonald
Advantage Showroom. Carpet Mill: Harbinger. Styles: Confetti, House at Emory University. Carpet Mill: Designweave. Style
Classic Square, Fifth Avenue. Marquis. Contract Dealer: Carnes Brothers

In recognition of their outstanding achievement in
interior design utilizing carpet made of DuPont Antron
nylon, we congratulate this years talented winners.

Carpet Fibers

Progressive Architecture 6:88 141

142

Introducing the Series 3600 Curtain Wall
System from
United States Aluminum Corporation

LIT — —
Horizontal member
4" spandrel over
1" vision glass

Vertical member at 1" vision glass

Design Features

Thermally Improved — Interior aluminum
is thermally isolated from the exterior in the
vision areas by V injection molded nylon iso-
lator clips. CRF rating of 67 as tested in
accordance with AAMA 1502.7 and 1503.1.

Labor Savings — Completely factory fabri-
cated stick system designed for inside erection
and glazing. System allows for reglazing of
spandrel lites from the exterior. Adjustable ver-
tical glazing beads readily accommodates 14"
and 1" glazing infills.

Gaskets — Molded exterior closed-cell
sponge neoprene gaskets and E. PD. M. in-
terior wedge gaskets provide a completely dry
glazed system.

Horizontals — Lap joint construction of
horizontals to verticals provide for positive seal
and expansion. Horizontals contain two baf-
fled weeps with snap on exterior covers which
have a beveled water shed edge.

Corners — Standard low profile 90 degree
and 135 degree outside corners are available.

Performance — Certified test reports that
meet or exceed AAMA 501 standard test pro-
cedure for ASTM: E-283 air infiltration, E-330
structural performance & E-331 water
penetration, are available.

Available in clear, bronze or black anodized
finish or custom painted to architect’s speci-
fication.

For complete information call 1 (800) 527-6440, in Texas call 1 (800) 442-3247, or write:

United States Aluminum Corporation

Manufacturing Facilities

3663 Bandini Blvd. 200 Singleton Drive 6969 West 73rd Street 720 Cel-River Road
Vernon, California 90023 Waxahachie, Texas 75165 Chicago, Illinois 60638 Rock Hill, South Carolina 29730
Telephone (213) 268-4230 Telephone (214) 937-9651 Telephone (312) 458-9070 Telephone (803) 366-8326

or (214) 299-5397 metro

Progressive Architecture 6:88 Circle No. 380 on Reader Service Card

Гот Воппег

PA in July

Cedars-Sinai Comprehensive Cancer Center, Morphosis Architects/Gruen Associates.

Buildings Below Grade

The July issue will feature two former P/A award winners: the Lucile
Halsell Conservatory in San Antonio, Texas, by Emilio Ambasz &
Associates and the Cedars-Sinai Comprehensive Cancer Center in
Los Angeles by Morphosis Architects/Gruen Associates. The build-
ings offer two very different solutions to building underground.

Also in July

Other articles in July will include
an examination of various strate-
gies and tools useful in market-
ing architectural services, a
portfolio of three New York
buildings by Kohn Pedersen Fox
Associates, and an exploration
of the uses of brick.

Future Issues

The August P/A will explore in
detail the Australian Parliament
House by Mitchell/Giurgola &
Thorp Architects. Interior De-
sign will be the focus of P/A in
September.

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Circle No. 343 on Reader Service Card

How many ways
to use cedar shingles?
How many trees in a forest?

Architect. Bahri & Associates

These labels
on the bundles
of Red Cedar
shingles and
Ш shakes are your

The possibilities are as infinite as
your own imagination. Because the en-
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shingles adds striking warmth to any eed
design you create. Büreair graded

To learn why red cedar shingles and quality.
shakes are such an excellent architectural Insist on them

solution, send for your free copy of our
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thing you need to know about cedar shake
The recognized authority

and shingles.
Suite 275, 515-116th Ave. NE, Bellevue, WA 98004

Circle No. 363 on Reader Service Card

Progressive Architecture 6:88 143

What's behind Door No. 1?

The Dentco Il
Multiple Door Access

Door No. 2? Door No. 37

And
96 other
doors?

$ystem from Detex.

Manage access security for up to
99 doors, and enjoy advanced
control features—without compli-
cated programming. New Dentco |!
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easy to install and use.

Door units guard each point of
entrance, while a central processor
lets you manage access security—
from one central location. Use it to
change security levels of door
units—even print out reports of
door transactions.

Detex Corporation

No other access control system
can match the features of new
Dentco || MDS:

e Simple two-wire installation.

e Easy to learn and use. Simple to
expand.

e 99 door capacity per system.

e Unlimited card capacity.

e Programmable modes let you
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door—locked, unlocked, card
only, card and personal identifica-
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e Programmable time zones enable
you to authorize individual cards

|
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or groups of cards for time
periods you select.

e Card-dependent anti-passback
feature admits a card only once
before the cardholder uses it to
exit—prevents the card from
being “passed back” to unautho-
rized users.

Don't leave your security system
to chance. Call or write for more
information about Dentco Il Multiple
Door System.

Situations Open

DIRECTOR
OF
ARCHITECTURE
-A.LA.

An award-winning architectural
firm in the Northeast is seeking
someone to provide creative in-
spiration and guidance for a
staff of talented architects and
designers.

The successful candidate must
be registered (NCARB regis-
tration preferred) with at least
15 years’ experience. Candi-
date must have demonstrated
experience and capability to
market projects in commercial,
institutional, industrial and
other mixed use architectural
markets. Managerial skills and
strong design background de-
sirable. Must be a confident,
self-motivated individual with
superior speaking, writing, and
presentation skills.

Please direct resume and sal-
ary requirements to: Progres-
sive Architecture, Job Mart,
Box 512. An Equal Opportunity
Employer.

MARKETING DIRECTOR
MAINE

Maine’s largest full service
A/E firm seeks exper. mar-
keting prof’l, strong A/ E
background, demonstrated
success in marketing A/E
services. Direct full scope of
Sales & Marketing efforts.
Articulate, leader, team
player. Reply to:

HARRIMAN ASSOCIATES
292 Court St.
Auburn, Maine 04210

Emilio Ambasz & Associates
Seeks exceptionally talented individual
with minimum 5 years experience for
design development and project man-
agement position. Send cv, non-re-
turnable portfolio materials and salary
requirements to: 632 Broadway, New
York, NY 10012, Attn: Dwight Ash-
down.

PA Job Mart

JOHN PORTMAN ASSOCIATES
INTERNATIONAL PROJECTS
Atlanta based architectural firm seeks
several entry and staff level architects for
career positions. The candidates we seek
should have professional degree, excel-
lent drafting, technical and design skills,
with CADD experience considered a plus!
И you are a motivated team player and
would consider yourself a generalist and
have an exceptional academic standing as
a student or professional portfolio, then

give us a call.
Felicia McAleer
1-800-257-1600 or
(104) 956-1600 (in GA)
300 Interstate North Parkway
Atlanta, GA 30309

ARCHITECTURAL - Rapidly
Expanding Westchester
County firm offers oppor-
tunities to excel and ad-
vance quickly. Mixed-use
projects require a Job Cap-
tain with a min. of 5 years
experience and a Designer
with a min. of 7 years experi-
ence. Send resume to:
Nadler Philopena & Assoc.
103 S. Bedford Rd.
Mt. Kisco, NY 10549
Attn: Mr. Rene Mueller.

SENIOR ARCHITECT
New York City, New York

Will supervise and oversee archi-
tects in the development design,
construction, alterations and repair
of residential and commercial prop-
erty. Must Supervise and plan lay-
outs of projects and integrate engi-
neering elements for contractors.
M-F 9-5, $32,000 per year. Must
have four years of experience in-
cluding one year of field experience,
Master's degree plus 3 years ex-
perience also acceptable. Send to:
RVB #165, Room 501, One Main
Street, Brooklyn, New York 11201.

Architectural Engineer — Review
architectural design for compli-
ance with building standards, ar-
chitectural engineering principles,
& customers contract specifi-
cations. Estimate construction
costs & control expenditure. Plan
& formulate construction project
schedule, & organize staff. BS or
MS in Architectural Engineering. 2
yrs exp. for BS or 1 yr exp. for MS
in Architectural Engineer or Project
Engineer req'd. $38,400/yr. Job
site: San Gabriel, CA. Send resume
to: 180 E. Valley Blvd., San Gabriel,
CA 91776, Attn: George Chen.

ARCHITECTS

We are seeking Architects with
hotel/motel, multi-story condo,
hospital, or apartment complex
experience. As Project Man-
ager you would be responsible
for several projects at once pri-
marily hiring and supervising
outside consultants. If you have
at least four (4) years experi-
ence doing this and a degree in
Architecture, call me.

Patrick Evans
Whitaker, Fellows & Associates
820 Gessner, Ste. 1500
Houston, TX 77024
(713) 465-1500

New York State Historic Preserva-
tion Office seeks 2 architects. Pri-
mary responsibility is plan review for
historic preservation grants, compli-
ance, tax certification programs.
$22,289. Resume: David Gillespie,
99 Washington Ave., Suite 2010, Al-
bany, NY 12210.

Services

ARCHITECTS - $25,000-85,000

GROUP ONE SEARCH
Executive Architectural Recruiters.
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ARCHITECTS: Your career is
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professionals. If interested
please call or send resume to:
Phil Collins or Tracy McNair,
CLAREMONT-BRANAN, INC.,
2295 Parklake Dr., Suite 520,
Dept. “J”, Atlanta, GA 30345.
(404) 491-1292.

RitaSue Siegel Agency™

A recruiting service to find architects, interior,
graphic and industrial designers, marketing and
sales support people for consultants and busi-
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60 W. 55 St., New York, NY 10019
212/586-4750

Notice

Please address all correspondence to
box numbered advertisements as
follows:

Progressive Architecture

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Stamford, Connecticut 06904

Advertising Rates

Display stvle $170 per column inch,
per your layout. Maximum 6 inches.
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Check or money order should ac-
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out of respect
for the dead.
And the living.

THE AMERICAN HEART
ASS@LIATION
MEMORIAL PRGGRAM .

CA 2 7
i,

WERE FIGHTING FOR YOUR LIFE
American Heart Association

This space provided as a public service.

Progressive Architecture 6:88

145

[єт YOUR IMAGINATION SOAR...

PITTSBURGH CORNING

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... when you design with PC GlassBlock®.

Serpentine. Undulating. Cylindrical. These
are the forms that tempt you ... call you ...
when your imagination is freed from the limita-
tions of more conventional building products.

Harness the beauty—and function—of natu-
ral light. Or create glowing surfaces with artificial
illumination. Design walls that seemingly float
... unconfining rooms that offer openness with
privacy. The patterns, sizes and shapes of
PC GlassBlock? invite the unique and daring.

But aesthetic freedom and drama are not its
sole advantages. PC GlassBlock® products do
so much more. They insulate ... reducing solar
heat gain and noise. Lower interior light require-
ments. And keep out dirt, dust and drafts.

American-made PC GlassBlock® products have
been providing imaginations with boundless
design possibilities for over 50 years.

For information, call our PC GlassBlock®
Hotline at 800-992-5769 (in Pennsylvania,
800-992-5762). Or write Pittsburgh Corning
Corporation, Marketing Department AGB-8,
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CORNING

Circle No. 359

Selected Details

L WOOD FRAMED ROOF

ROOF DRAIN

RAILING

STEEL TRUSS

| LOUVER

BRICK CLADDING

xx —— (на

CONCRETE STRUCTURE

GALVANIZED STEEL
TUBULAR COLUMN

WINDOW

MODEL OF TYPICAL BAY WALL SECTION

ELEVATION

1 4712m

Drawing: Garry Harley

Wall Section
The Kemperplatz Bahnhof
West Berlin

Built as a temporary exhibition
structure for а magnetic train
system, the Kemperplatz Bahn-
hof (train station) displays an
elegant interweaving of modern
and traditional construction.
Berlin architects Brandt and
Bóttcher chose materials that
were appropriate to their local
climate and that referred to ver-
nacular buildings.

The building's base is con-
structed of local, golden-colored
bricks set in simply laid patterns.
Overlapping the brick walls are
small steel trusses that support
the fenestration system, which is
a continuous band of glass and
steel windows. The gently folded
exposed wood roof is independ-
ent of the wall structure and is
supported by a system of gal-
vanized, tubular steel columns.
The separation of roof and wall
permits a flow of air into the
station. Roof drainage occurs
through leaders that are inte-
grated into the structural steel of
the façade. The permanence of
brick and steel, the lucidity of
glass, the rawness of unpainted
wood—in contrasting these ma-
terials Brandt and Bóttcher have
created a simple, but complexly
integrated, structure.

Mary Catherine Pepchinski п

The author is a New York architect living
and working in West Berlin.

Progressive Architecture 6:88

147

AllianceWall Corp.

Amoco Fabrics & Fibers Co./Carpet
Yarn ..... 324-0
Amoco Fabrics & Fibers Co.

Patchogue Plymouth Co 126
Andersen Cor. 18-25
Apple Computer 18A—48H
Architectural Area Lighting . à 10
Armstrong World Industries TEC
Best Western International 140
Boston Visions Design Competition. 138
C/S Group mort 52
CTDA/ATTMCA Internationa

Ceramic Tile Exposition . 123W
Canterbury International 148
CertainTeed Corp 120R, 121R
Chicago Metallic Corp РТ 14
Columbus Coated Fabrics—Guard 14
Commonwealth Aluminum T 78
Computerland À а 71
Conde House yis 128
Cupples Products, Div. of

H.H. Robertson Co. 119
DEIL 62
Dataprint Corp 134
Detex Corp 144
Dover Elevator Systems, Inc 12, 43
Dryvit Systems, Inc 16, 47

DuPont Co.—Antron . 60,61
DuPont Co.—Antron Design

Winners 141
Eagle Window & Door, Inc 65
Fiandre Ceramic Granite TE 36
Follansbee Steel Corp 137
Foremost Manufacturing Co vss -
Formica Corp . 12, 18
Forms + Surfaces 8
Forrer Chemical 70

GE—CKI Lamps r . 74,

PA Advertisers’ Index

Gametime, Inc.

General Polymers Corp.

ICF, Inc.
ISPO, Inc.
Ikegami Electronics U.S.A., Inc

KDI Paragon
Kalwall Corp.

Kawneer Co., Inc. ........ 6,7,7

Kim Lighting

LOF/Glass
Laticrete International, Inc.
Lee Jofa, Inc. ..

Marvin Windows

Mitsubishi Chemical Industries
of America, Inc

National Partitions & Interiors, Inc

Olympic West Design Competition .

Pawling Corp
Pittsburgh Corning Corp
Poulsen Lighting, Inc
Prestressed Concrete Institute

Progressive Architecture
Bookstore

Progressive Architecture Design
Awards

Rambusch

Red Cedar Shingle & Handsplit
Shake Bureau . à

Rhodorsil/Rhone-Poulenc, Inc
Roppe Rubber Co.

Saddlebrook
Santa Fe Collection

Senergy, Inc.
Shaw-Walker
Sherwin-Williams Co.
Sitecraft

Southwall Technologies

80A—8O0D

Steelcase, nee 2,3
Steelcase Design Partnership ... 58, 59
Suffolk County Viet Nam Veterans
Memorial Commission ......... 136
lhoro System Products ...... 3 GS
U.S. Aluminum Corp. ..... 142
Vicon Industries, Inc. ....... 76
Wayne-Dalton Corp. Bab we C4
Weatherend Estate Furniture 135

Note: R or W after numbers denotes material

that appears in regional editions only.

Advertising Sales Offices

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Robert J. Osborn
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3400 Peachtree Road, NE-Suite 811

Lennox Tower

104-237-5528 Fax 404 237 1372
Harmon L. Proctor, Regional Vice President
Ronald L. Miller, District Manager

Boston, Massachusetts:

600 Summer Street, P.O. Box 1361
Stamford, CT 06904 203-348-7531
Richard A. Strachan,

Sales Manager

Chicago, Illinois 60601:

2 Illinois Center Bldg, Suite 1300
312-861-0880 Fax 312 861 0874
Patrick J. Carroll, Brian Keenan
District Managers

Gail Lisac, Sales Service

C AN. T E

Architect: Mr. Ron Benoit
Project: Nevada Savings

R BURY

Jardin Bollards
300 Series

Canterbury International

clock tower and chimes
Circle No. 387

Cleveland, Ohio 44114:

1100 Superior Ave.

216-696-7000 Fax 216 696 8765
John F. Kelly, Western Sales Manager

Dallas, Texas; St. Louis, Missouri:

2 Illinois Center Bldg, Suite 1300
312-861-0880 Fax 312 861 0874
Brian Keenan, District Manager

Los Angeles, CA 91436:

16255 Ventura Blvd, Suite 300
818-990-9000 Fax 818 905 1206
Philip Muller, Ed Sexton, District Managers

New York, New York 10168:

Chanin Building, Suite 900

122 East 42nd Street

212-867-9191 Fax 212 867 5893
James J. O'Brien, District Manager

Philadelphia, Pennsylvania:

600 Summer Street, P.O. Box 1361
Stamford, CT 06904 203-348-7531
Francis X. Roberts, District Manager

Paris, France:

Continental Europe

12 Avenue Franklin-Roosevelt, 75008
Telephone: 43 59 36 06 Telex: 260717,
Fax: 43 59 76 70

Yvonne Melcher, Manager

Tokyo, Japan 101:
Bancho Media Service
Dai-Ichi Nisawa Bldg, 5th Fl
3-1 Kanda Tacho 2-chome
Chiyoda-Ku

03-252-2721

Genzo Uchida, President

United Kingdom:

Wood Cottage, Shurlock Row
Reading, RGIO OQE, England
0734-343302

Telex 848800 Techno G

Fax 0-734-343848

Malcolm M. Thiele
Managing Director, U.K

Р.О.Вох 5730

Sherman Oaks, CA 91413
phone: (213) 9356 7111 Ч

INTERNATIONAL

Catalog available
or
us in Sweets

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Full text of "Progressive Architecture (P/A), June 1988"

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